I teach adults new to painting to paint via paint-along-with-me-style and was once shocked to see two of those paintings (same painter) hanging in a local gallery where I also exhibit signed by her and hung as original paintings. This has made me rethink my teaching approach and certainly being clear about what is considered original work and what isn’t.
I have witnessed and experienced that exact same thing! Rather than change the way I teach, I always start my paint alongs with the explanation of what original means, and what is ethical when selling your originals. If people still choose to do what they do, I figure it's not my job to be judge and jury. But at leas that way they know the rules.
I've taught over the decades and attend online academies and there is much copying and selling of those copies. Newbies don't seem to understand copyright or what's allowable. They haven't been in the artworld/community long enough to know that selling copies isn't a good idea. You're right, Being clear about what is considered original artwork is important. Glad you noticed that.
What they do not realize, like I said in the article - They can't continue producing copies, and will be exposed as fraudulent. None of us can create copies as though we are the original artist. It seems obvious when you say it, but students rarely think past the one sale.
You are completely right about this Debra. I recently read a fellow artist's comment on a forum say, "I've been painting for 6 months and want to start selling my work to pay for my supplies." Other times, I read that artists who've had their websites up and running for a year have not sold from it and blame the silence on the creators of the website software.
I taught art marketing workshops and quit because of unrealistic expectations of amateur artists. Those who were successful in some other domain in life, thought it should automatically transfer to their success with art sales. It seems that most think there is some trick or method to quick sales and discount the quality and marketability of their work. It seems some will do anything for a sale, even copy what has already been thought out by a long-time career artist.
Unrealistic expectations are to blame, and sometimes art marketing experts feed into those expectations because they're making money from their students. Incidentally, I I no longer teach marketing workshops ;-) Well, just want to reiterate that you are a valuable contributor to FASO. I greatly resonate with your experience and HONESTY. THANK YOU! I gotta run.. pick up unsold paintings from a gallery show..Yeah, my best work to date and no buyers this year, Ha!
All that is disgusting to me. I paint what I love because I love it. I learn by doing and brush mileage. I am not interested in copying anybody else’s work, living, dead or mechanical. There are other ways to earn a living than sucking off others’ creativity and efforts.
While it’s true there are some bad actors, I hate to see the whole enterprise of “copying” denigrated. In art school I made literally hundreds of master copies and that was an important part of how I learned to draw. But making copies is an academic pursuit, and should never be pawned off as anything else.
Its refreshing to hear it being called out. A rising tide floats all boats, I like to surround myself with artists who live by this belief too. We can help elevate each other and even recommend our friends work to our clients, everyone can win, its not a zero sum game.
Wow Debra! What you wrote here is pure gold! It's not only eloquent - it's so true to life. I've studied for years with some of the greats. I was the rebel and didn't copy anyone's style or subject. Your blog here made me feel validated in my rebellion. I was usually the odd-one-out in a group who followed a master. I'm 70 and still in experimental mode. I see my fellow artists who painted in Putney with Schmid find success while I have not. I'm OK with that. The way I see it - it's that many people are more left-brained and feel comfortable following a tried and true approach while others (probably a smaller crowd) are constantly defining their own path, while picking up on aspects of those who came before them. I can see the influence of past painters in your still lifes, but your result is more contemporary - truly original. I also love your writing! I'm so encouraged by this one. BTW: I've taught for years, but no one copies my style coz, like you, it's in flux.
I have taken courses in person and online from many people around the world. I never want to copy what they make, and probably couldn't even if I tried. I am interested in learning new-to-me techniques, processes, ideas, outlooks, color pallets, etc. There is always something I can learn from a given teacher, even if it is how not do do something, as has happened a few times. I don't understand people who copy, steal, plagerize and so on. Who wants their work to be just like someone else's? I'm not there yet, but I want my art to be recognizable as uniquely mine.
I never want to copy what they make, and probably couldn't even if I tried.
That is such a great mindset, I think. I have actually had students try to get me to essentially paint their piece, and twice when I asked them why, they said because they wanted to leave the workshop with something to sell. I don't know - I felt like their brain was so into finding a way to get back the money they spent to come learn, they actually missed out on learning all together.
Making master copies or following a tutorial has its place, but to sell something as an original artwork when it's simply a piece that should be for learning really can't be excused. Maybe some don't realize, but I can't help but feel they should know something is wrong with what they are doing.
I agree. It happens SO often though. I actually just saw the accepted works in a prominent juried exhibition that were announced today. I know for a fact that one piece was created in a workshop setting, and some of the strokes on it are the instructor's.
I am okay with people RE painting a work they did in an instructional setting and selling it. I have done that myself several times, because I liked the props I was using in the class. But the ones where the instructor is helping you paint it - seems like everyone would understand that to be wrong.
Debra, you have written an excellent article. I think your following sentence sums it all up. “ You cannot “steal” a style and make it work, if it isn’t aligned with who you are”.
Your work relies heavily on skills and techniques “borrowed” from the old masters. I see you have also incorporated the image of an antique valentine . You have definitely not invented the wheel .
Deb what a great article! I especially love your candor, as a fellow artist and friend I appreciate that quality about you. So many good points and insights here but I think the biggest takeaway for me is that we must educate new artist what copyright means and integrity of original art when trying to sell work or enter shows. Copying is a great way to learn but then the true artist develops their own style and interpretation from all the years of collecting lessons in the back of their mind and insights inspired by others.
Interesting take on borrowing. I don't know if any of my students have "borrowed" from my work, but I have gotten certain insights in some of theirs.
I love that it always goes both ways. We learn so much from each other. Thanks for reading Moira!
I teach adults new to painting to paint via paint-along-with-me-style and was once shocked to see two of those paintings (same painter) hanging in a local gallery where I also exhibit signed by her and hung as original paintings. This has made me rethink my teaching approach and certainly being clear about what is considered original work and what isn’t.
I have witnessed and experienced that exact same thing! Rather than change the way I teach, I always start my paint alongs with the explanation of what original means, and what is ethical when selling your originals. If people still choose to do what they do, I figure it's not my job to be judge and jury. But at leas that way they know the rules.
Good approach to lead with that explanation as part of the lesson.
There's never a dull moment teaching, is there?! LOL
Sounds like a good plan Debra.
:)
I've taught over the decades and attend online academies and there is much copying and selling of those copies. Newbies don't seem to understand copyright or what's allowable. They haven't been in the artworld/community long enough to know that selling copies isn't a good idea. You're right, Being clear about what is considered original artwork is important. Glad you noticed that.
What they do not realize, like I said in the article - They can't continue producing copies, and will be exposed as fraudulent. None of us can create copies as though we are the original artist. It seems obvious when you say it, but students rarely think past the one sale.
You are completely right about this Debra. I recently read a fellow artist's comment on a forum say, "I've been painting for 6 months and want to start selling my work to pay for my supplies." Other times, I read that artists who've had their websites up and running for a year have not sold from it and blame the silence on the creators of the website software.
I taught art marketing workshops and quit because of unrealistic expectations of amateur artists. Those who were successful in some other domain in life, thought it should automatically transfer to their success with art sales. It seems that most think there is some trick or method to quick sales and discount the quality and marketability of their work. It seems some will do anything for a sale, even copy what has already been thought out by a long-time career artist.
Unrealistic expectations are to blame, and sometimes art marketing experts feed into those expectations because they're making money from their students. Incidentally, I I no longer teach marketing workshops ;-) Well, just want to reiterate that you are a valuable contributor to FASO. I greatly resonate with your experience and HONESTY. THANK YOU! I gotta run.. pick up unsold paintings from a gallery show..Yeah, my best work to date and no buyers this year, Ha!
Exactly! Safe travels, and sometimes the best works intentionally wait for just the right buyer imho. Thank you for your kind words Lori.
I think your local gallery should step in here and educate the “student”.
Thanks for reading and commenting David
I'm so surprised the Gallery would be open to this. Did they know she was copying your work?
All that is disgusting to me. I paint what I love because I love it. I learn by doing and brush mileage. I am not interested in copying anybody else’s work, living, dead or mechanical. There are other ways to earn a living than sucking off others’ creativity and efforts.
So glad you read they article and felt called to comment. Thanks you for your thoughts.
While it’s true there are some bad actors, I hate to see the whole enterprise of “copying” denigrated. In art school I made literally hundreds of master copies and that was an important part of how I learned to draw. But making copies is an academic pursuit, and should never be pawned off as anything else.
Agree 100% !!
Its refreshing to hear it being called out. A rising tide floats all boats, I like to surround myself with artists who live by this belief too. We can help elevate each other and even recommend our friends work to our clients, everyone can win, its not a zero sum game.
Yes!!! Thx for reading and commenting!
Wow Debra! What you wrote here is pure gold! It's not only eloquent - it's so true to life. I've studied for years with some of the greats. I was the rebel and didn't copy anyone's style or subject. Your blog here made me feel validated in my rebellion. I was usually the odd-one-out in a group who followed a master. I'm 70 and still in experimental mode. I see my fellow artists who painted in Putney with Schmid find success while I have not. I'm OK with that. The way I see it - it's that many people are more left-brained and feel comfortable following a tried and true approach while others (probably a smaller crowd) are constantly defining their own path, while picking up on aspects of those who came before them. I can see the influence of past painters in your still lifes, but your result is more contemporary - truly original. I also love your writing! I'm so encouraged by this one. BTW: I've taught for years, but no one copies my style coz, like you, it's in flux.
You are AWEsome!!!!
I have taken courses in person and online from many people around the world. I never want to copy what they make, and probably couldn't even if I tried. I am interested in learning new-to-me techniques, processes, ideas, outlooks, color pallets, etc. There is always something I can learn from a given teacher, even if it is how not do do something, as has happened a few times. I don't understand people who copy, steal, plagerize and so on. Who wants their work to be just like someone else's? I'm not there yet, but I want my art to be recognizable as uniquely mine.
Exactly!
I never want to copy what they make, and probably couldn't even if I tried.
That is such a great mindset, I think. I have actually had students try to get me to essentially paint their piece, and twice when I asked them why, they said because they wanted to leave the workshop with something to sell. I don't know - I felt like their brain was so into finding a way to get back the money they spent to come learn, they actually missed out on learning all together.
Making master copies or following a tutorial has its place, but to sell something as an original artwork when it's simply a piece that should be for learning really can't be excused. Maybe some don't realize, but I can't help but feel they should know something is wrong with what they are doing.
I agree. It happens SO often though. I actually just saw the accepted works in a prominent juried exhibition that were announced today. I know for a fact that one piece was created in a workshop setting, and some of the strokes on it are the instructor's.
I am okay with people RE painting a work they did in an instructional setting and selling it. I have done that myself several times, because I liked the props I was using in the class. But the ones where the instructor is helping you paint it - seems like everyone would understand that to be wrong.
Debra, you have written an excellent article. I think your following sentence sums it all up. “ You cannot “steal” a style and make it work, if it isn’t aligned with who you are”.
Thanks.
Thanks so much for reading and commenting David!
Thank you for writing this!
Thank YOU for reading and commenting Milena!
See my blog
Welcome Andrew!
Your work relies heavily on skills and techniques “borrowed” from the old masters. I see you have also incorporated the image of an antique valentine . You have definitely not invented the wheel .
Thank you for your comments!
"Attending a workshop not to learn, but to collect recipes and formulas you can implement"
Attending a workshop to collect recipes and formulas to implement later is learning
Fair enough
Deb what a great article! I especially love your candor, as a fellow artist and friend I appreciate that quality about you. So many good points and insights here but I think the biggest takeaway for me is that we must educate new artist what copyright means and integrity of original art when trying to sell work or enter shows. Copying is a great way to learn but then the true artist develops their own style and interpretation from all the years of collecting lessons in the back of their mind and insights inspired by others.
Well said! Thanks for reading and commenting Denise!