34 Steps To Success In The Overseas Art Workshop Niche

Your Invitation to a 2 Week Art Workshop in Brussels or… 34 Steps To Success In The Overseas Art Workshop Niche.

You could pay an art coach $500 for this advice… and another $40 a month to hold your hand at every step along the way. Or you could read this article.

You have seen ads like this for years. And you have missed the point… for years.

This is what I call… hiding in plain sight. Because while you might be thinking… ‘ must be nice to travel to Brussels for an art workshop’… you are missing the point entirely.

Let me be clear. As you read this – many successful artists are conducting Art Workshops over seas in exotic locales like Paris, Brussels, Rio, Tokyo, Tuscany… getting paid, having fun… and their accommodations are… free.

But no one is going to come knocking at your door to present these opportunities to you. For a very simple reason. You have got to make it happen.

This is a dynamic that is built on trust. On people knowing you and your skill level and your personality.

Is there an inside track to such success? Yes.

Many artists just want to paint and sell their art. That is thinking small… in my opinion.

1- You are painting every day or every other day. Your paintings are stacking up around the house.

2- Your daily planner has shows you wish to enter or a circuit that you travel and show your work.

I did not say ‘sell’ because many artists are not salespeople. People buy but the artist does not sell.

3- You pay your fees for a booth, gas up the car, load up your work and trundle off to set your exhibit.

4- You sit for one day or two, as your kidneys explode, collect a lot of cards in a fish bowl, sell a painting or two and on the way home… you realize… you paid out more than you took in. But you had fun. At least that is what you tell yourself… so you don’t have to face the fact that the weekend was a financial bust.

Now… let’s think really big. Thinking… is not going to kill you.

1- Your local arts association is your beginning platform.

2- You enter as many local shows as you can afford. Framing gets expensive.

3- You get on the publicity committee so you learn how to get the word out.

4- You volunteer for the fund-raising committee so you begin to network and understand the cash flow.

5- Do not get caught up in the petty in-fighting. Stay out of it. It will sap your energy.

6- As your talent and name recognition grows within your association inquire as to whether you could present a workshop for the group.

7- Do not expect your first inquiries to be greeted warmly at first… because… the powers that be… may have always psychologically seen you as ‘just’ an artist… not a talker.

8- It helps to have the gift of gab, but if you don’t… taking note of your process… from inspiration to final painting… is your key. If you must – write it down. Because being authentically you… is what people find endearing.

9- Take an honest look at other painters in your association and make a conscious effort to develop your own style… your own palette of colors… a particular way of doing things… whether meticulous or ‘slam bang.’ Separate your style from the pack. I mean you don’t want to be the singer who reminds everyone of Frank Sinatra. You want to develop your own signature style.

10- This may take a year or two to really get going.

11- Save all your organizations Press Releases of your workshops.

12- By now you have developed the ability to talk and paint at the same time… and have fun doing it.

13- It is time to set up the digital camera and make a DVD. Put it up on YouTube. Then put up another one. Then rinse and repeat… every 3 months.

14- Consider writing a booklet detailing your unique style. Submit the idea to Northlight for publishing or just do it your self on Amazon. Then rinse and repeat.

15- What you are doing is building a paper trail of your accomplishments. Your Curriculum Vitae. Your Artist Bio.

16- Now it is time to research all the art organizations within your state. Contact them and pitch them on you presenting a workshop of how you do… what you do. And not thinking small… consider art associations in contiguous states.

17- This is where the fun begins. You will find out that most cannot schedule you in right away because… their calendar of presentations may already be full… for the next 12-24 months. Their calendars will be full with artists who are already doing what you are just beginning.

18- But as you make your calls… you will find out which organizations are open to you… if not now… sometime down the road. That is what you want… an opening.

19- After you have done a couple of workshops… you will get really comfortable with it.

20- What is the time frame? Realistically this could take anywhere from 1 to 4 years. Oh my god.

21- Think about it… how long have you already been painting? And are you getting requests to present workshops? So… time to begin.

22- But how do you move from workshops locally to state wide to overseas?

23- I forgot to mention… you are getting paid to do these workshops. It could be a flat fee or it could be per head. Some presenters get $50 to $100 per head. It depends on the market and the size of the organization. You do the math.

24- Remember that fish bowl you used to have to collect names of possible buyers? Well now it is time to go ‘deep sea fishing.’ As you do your workshops you want to negotiate with the organizations that sponsor you as a presenter… that you might be doing an overseas workshop say in Tuscany and it would be nice if they might carry your ad in their newsletter. Maybe they have a ‘presenter’ ad rate. See where this is going?

25- The more associations you are able to present workshops to… the greater your reach in having your ads carried in their newsletters.

26- Why not just run an ad in an arts magazine? Very expensive. Association newsletter ads are relatively cheap.

27- So… why do it the way I have suggested? If you like simple and I do… here is why. Trust.

People who belong to the associations have come to know you and feel comfortable with you. These same people will recognize your name when they see your ad in their newsletter. Some of these same people have the resources to take a one week or a two week trip on a cruise ship or overseas. These same people would love to take a trip to a foreign land with some one they already know and trust… that’s you.

28- Now for the really good news. You do not handle the scheduling or accommodations. That is why you use a travel agent. And of course you do not have to pay your way… because the travel package allows your travel, lodging and food as free as long as your travel head count meets a certain number… X

And you make it plain in your ad… the work shop is contingent upon X number of people signing up.

29- And this is how you build a reputation as a world-wide art workshop presenter. I’ll just mention in passing… it also gives you an opportunity to sell your books, DVD’s and prints. No point in leaving money on the table. Not to fear… if some one is taking your overseas workshop… they are already predisposed to buy other items from you. You really won’t have to sell.

30- Your travel agent is booking these people and you get a copy of the contact sheet… for your own list building for future overseas work shops and future works that you may wish to put in the pipeline.

31- The really great news… is once you have done the first overseas work shop… doing it again becomes even easier… the next time… and the next. You know the territory.

32- Why does it take so long and involve so many state-wide presentations to get this up and running?

Because the whole dynamic is built on trust. Trust that you know what you are talking about. Trust that you have an engaging personality. Trust that associations believe you will take good care of their membership and treat their people with respect.

33- So resolve to begin today to start widening your ‘circle of trust’ and reap the artistic rewards.

34- And the next time you read… ‘Your Invitation to a 2 Week Art Workshop in Brussels’… you will be reading your very own ad.

Best regards!

Texas Artists and Art Movements

Edgar Byran Davis – Philantropist

From “Texans Always Move Them: A True History of Texas”

When Texas wildcatter, Edgar Byram Davis struck oil near Luling, Texas, everyone benefited. After making profits on his discovery, he used his funds to improve Texas. Davis celebrated by hosting a huge free barbecue. He invited friends, employees and associates in Luling, Texas. He shared his profits by contributing to charitable organizations, purchased golf courses for Luling, improved hospitals and supported the arts. Among his patronage was supporting the Broadway play, “The Ladder” for two years and the controversial figure Edgar Cayce. Davis personally paid for tickets to the play due to his belief in reincarnation which the play emphasized and that it was written by a friend of his.

Texas Impressionism

Edgar B. Davis also underwrote the Texas Wildflower Competitive Exhibitions of art. The $5,000 prize money awarded in the competition was the richest art award offered in the United States. Prizes were given for national and state-wide competition. Davis liked the Texas wildflowers, and had possibly been inspired by Texas artist Julian Onderdonk (1882-1922), who was known as the “Bluebonnet Painter” and “Father of Texas Painting”. His paintings of the Texas landscapes often portrayals of areas near his home in San Antonio gained him a national reputation. His father, Robert Jenkins Onderdonk (1852-1917) was also an established artist.

These art competitions brought painters to Texas along with encouraging native born artist to pursue painting. These competitions almost single handedly brought about a painting style known as “Texas Impressionism”. Texas Impressionism sought to portray the effects of sun and light on outdoor subjects. The Impressionist movement, which began in France, was brought to Texas through this movement. Texas born artists Jose Arpa (1858-1952), Robert Wood (1889-1979), Rolla Taylor (1871-1970), and Porifirio Salinas (1919-1973). and Dawson-Dawson Watson (1864-1939) was born in England, yet his close association and similar style with the Texas painters lumps him in with the Texas impressionists.combined the popular painting style of impressionism with Texas landscapes. The artist Porifirio Salinas met fellow artists Robert Woos and Jose Arpa by selling them art supplies. From them he learned their unique style, even cooperating with them on some paintings. From those lessons, he mastered his own style. One of his later students, Palmer Chrisman (1913-1984), became an acclaimed artist.Chrisman provided medical services in trade for art lessons. Chrisman’s paintings were given out as gifts by President Lyndon Johnson during his presidency. This new style encouraged painters to come to Texas, with the Dallas area becoming a center of the new Texas school of artistic painting.

Modern Texas artists whose paintings reflect this style are Dalhart Windberg and Larry Dyke.Dyke’s work has hung in the White House and other prominent locations. Larry Dyke’s paintings have his signature Bible passage reference on each work, which is one of his unique markers.

Lone Star Regionalism

Davis’ financial patronage was one of the bright spots during the economic hardships of the depression in Texas of the 1930’s. Between his patronage and WPA projects encouraging the development of artists and writers, a new style developed known as “Lone Star Regionalism”. This new style gradually gained dominance over the previous movement of Texas Impressionism. The new style used darker colors to portray subjects unique to Texas. Some critics may claim that the dark colors reflected the dark mood of the times. The artists attempted making their subjects easy for the common man to understand. The ‘regionalists’ chose everyday life as subjects for their art and writing. This increased emphasis on regionalism occurred in art and literature. Writers like J. Frank Dobie were part of this regionalism movement. J. Frank Dobie and Texas native, Tom Lea pooled their talents in joint ventures during this time. Artists in the movement included Clinton King (1901-1979),Thomas Hart Benson, Jerry Bywaters (1906-1989), Alexandre Hogue, Henry Nash Smith and David R. Williams. These artists were inspired by writers such as John Dewey, George Santayana and Constance Rourke. A group of the more prominent artists living in Dallas became known as the “Dallas Nine”. The regionalist artists were influential on art throughout the United States. At the 1939 World’s Fair held in New York City, after seeing the work of the Texas artists, the President of the exhibition commented, “The exhibition indicates that New York is still the art center of the nation, but it shows clearly that during the recent years there has been a marked decentralization, and that a number of cities and towns throughout the country have risen to challenge the leadership of the eastern metropolis.”

Artists during these harsh times resorted to many creative techniques and mediums. They painted on railroad cars, burlap, and almost any surface that paint would adhere to. In their resourcefulness, they made their own frames and canvas stretchers. The government program of WPA employed artists to paint murals for public buildings such as post offices. The post office and court house works often used murals to convey Texas and historic themes. Among the leading mural painters were Texas born artists Tom Lea (1907-2001) and Ruth Monro Augur.

Tom Lea’s work was featured on federal buildings and post offices throughout the nation. He also served as a military artist during World War II. At the 100th anniversary of his birth, President George W. Bush requested the Tom Lea painting of Rio Grande from the EL Paso Museum of Art would hang in the oval office. The work was eventually purchased and is currently on display in the oval office of the White House.

Texas Still Lifes

There were some Texas regionalism artists who were grouped into a subgroup of Texas Still Lifes. These are still a part of Texas regionalism, yet with works focused on still life subjects. Among this group were Lloyd L. Sergeant (1881-1934),Robert J. Onderdonk, Alexandre Hogue, Florence McClung, H. D. Bugbee, Olive Vandruff, Emilio Caballero and Isabel Robinson. Many of these artists were located in North Texas or the Panhandle sections of the state. They shared a common theme of still life painting within the Texas Regionalist style and painted their works in the 1920’s and 1930’s.

Modern Artists of Note

Another modern Texas artist of note is Bruce Marshall. Marshall is known for his portrayal of Texas historic events and persons. His depictions of military uniforms and the accuracy of his detailing has earned high praises. He has written and published books on early Texas history and uniforms. His art was renowned enough to be knighted for his accomplishments, so that he is now known as “Sir Bruce Marshall”. He and his wife reside in the Austin, Texas area on land that has been in his family since colonial Texas.

JOHNNIE LILIEDAHL is another Texas artist with an international reputation. Her instruction and art are in demand around the world. People from Europe, Australia and Asia attend her classes to learn how she captures her subjects in a classic realistic stye reminiscent of the European masters. Johnnie continues teaching art classes at her studio in La Porte, Texas.