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SO YOU WANT TO PAINT by MARY ROHOWSKY With the post-war affluence there came an intensified inte rest in art, and artists found a ready market for their work. Art schools developed as the neo-artists sought guidance in their talents. The artists no longer needed to "starve for art" as in the years past, as he could readily substain himself in commercial fields or research and in the spare time develop his own creative efforts. The art centers organized their own art exhibits and found a ready marked for their labors. Who said a good paint ing must be produced by a ’’name"? There are various types of art education — art schools, studio workshops, travel workshops and correspondence schools. Demonstrations and art books are of great help. There are many opportunities for a career in art today — fine arts, teaching or commercial art. An art school provides the maximum amount of time. Most art schools are concentrated in and around large metropolitan areas, where practicing artists teach. The larger the school, the broader the range of art courses. In a studio workshop, one meets artists of varied experience. Instruction and guidance are given at a more in dividual basis.Often a professional artist attends to benefit from the stimulating experience of being with other painters, which is beneficial to creativity. A model is provided for a nominal fee, and the artist can benefit sketching from a live model at reduced rates, just as an opera star exercises her scales. The art student works at his own rate of speed, getting instruction, guidance and criticism in all stages from start to finish. This is not always possible in a classroom. Wokshop students are serious art students, whether part time or full time. Everyone is there because he wants to be there for various purposes. Age does not exist in the workshop because art is universal and everyone speaks the same language. When a creative person finds his outlet of self expre ssion, all other matters go down the drain. A fever of excite ment envelopes him and all else takes a back seat in his life. Some sing, play a musical instrument or write. Some join dra matic groups and involve themselves in the drama of life. An artist who paints does so at every opportunity, even without a palette. As he walksalongthe street, or rides in a car, the artist squints at the flowers or buildings, finding shadows and high lights. Sitting under a tree he will mentally mix the colors of the sky, or the dark and light colors of the landscape. He is constantly seeing and painting mentally. An artist sees much more than others. One can say that an artist is never lonely. Each artist sees differently, and has his own individual way of expressing what he sees. It is often said that six different artists may paint the same landscape or portrait, but get six different versions of what they see. Each painting is as indivi dual as a handwritten signature. Deep satisfaction comes from painting, but one must have time to devote the countless hours one must practice, first drawing, then the variety of exercises in painting. Always there will be new and intriguing avenues, and as the painter proceeds in his artistic attempts in trial and error he starts looking for a teacher of substantial reputation to guide him in the principles of painting. But another problem comes along, as each theacher has his own principles which he feels make "good art.” Many use a limited palete, and the neo-artist finds his paints drying away in a box, as he buries himself in the mysteries of mixing six to nine colors into sixty other colors. You not only mix colors, but you learn why you are doing it. Three dimensions must be forced through color and perspective. Much color can be found everywhere. Color is a very personal matter. Black and white are not considered colors and are only encouraged to be used mixed. Grey in its many different tints can be a very beautiful color, and one can be very happy painting in just the three colors — Prussian Blue, Raw Sienna and White. Dogged tenaciousness follows. The artist student meets artists who are not well known for their artistic abilities, but who are excellent teachers, and artists who are excellent painters but poor teachers. One well known artist writes excellent books on painting, but his students leave his class room empty and frustrated — he cannot communicate with them. Money pours as the artist student buys books and materials to aid him in his ultimate goal, and the more he studies the more the student realizes that even great artists do not always produce excellent paintings each and every time. And so the search for great painting goes on and on, tackling the almost impossible, with no room for the fainthearted, and each study a proving ground, not a finished picture. Discipline becomes a form of habit and as long as a high standard is set, progress is made. Composition and values are all important to a good painting. Center of interest and mass simplicity are more important than color. Color may fade but the original compo sition remains. Good color does not just happen, it has to be discovered, as with experience and practice the artist begins to "see" and becomes aware of all colors about him, even in shadows. Time and practice will develop your progress in art until you can paint without the self consciousness that can mar the most beautiful efforts. Much emotion goes into the painting but the artist must exhibit his work to get the reaction of the public — do they feel what he feeels. They say artists are long lived. I believe this to be true — each and every one has so much planning for the next painting — and the next — and the next, they have no time to die. REPORT ON THE MAYOR’S CONFE RENCE ON IMMIGRATION — MAY 5, 1981 BOARD OF ESTIMATE CHAMBER — CITY HALL There were approximately 80 ethnic groups represented at what proved to be a most interesting seminar. Representing the Regional Council of the UNWLA were the following ladies — Oksana Szczur, Lydia Magun, Rosalie Polche, and Anastasia Brodin. There were numerous speeeches, a panel discussion in the morning and then again in the afternoon with time allotted for questions and answers, and all relating to immigrations past, present and future. Immediately prior to breaking for lunch, Rosalie Polche created a sensation when she took to the podium and after gi ving a very informative resume on Ukrainians and their history, inquired as to why we were not asked to participate in the panel discussion and why, when the various ethnic groups were mentioned, Ukrainians were completely ignored. One of the Cont. p. 27 НАШЕ ЖИТТЯ”, ЛИПЕНЬ-СЕРПЕНЬ 1981 23
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