Methods of Determining Recognized Quality
Louie Miller & Loren Adams

In order to begin an explanation of "Recognized Quality" and the most important aspects to consider as pertinent in establishing such an apparatus, we must begin by saying that such a measuring device would have something to do with how exactly contemporary works of art compare to known masterworks by recognized masters.

Most of the known masterpieces have qualities that are always found to be above and beyond the ordinary as if to say perfect form. These have a recognizable and perhaps measurable degree of pristine points of execution in the brush work (chiaroscuro) which is the actual signature of the artist.

For instance: Vermeer's Lace Maker reveals every single brush stroke to be perfectly executed by a perfectly thought out procedure, his brushwork signature was always profoundly woven.

Mozart's Requiem, the original manuscript hand calligraphied by Wolfgang Amadeus Mozart, is on display at the museum of natural history as an example of divine dictation. The reason is that the calligraphy contains thousands of hand drawn music notes and symbols without one single error and no evidence of erasure or correction, scored for full orchestra & double choir.

The fact that we have a few examples of magnificent perfection of an idea or an important archetype is where we start. In simple terms, the more closely the art work in question nears perfection the better it is said to be. The reason for this is back to the fact that outstanding art works are known to exist that do measure up to near perfect!

The ideal is advanced pictorial composition with the human form portraying an important character from an important known classic story. Historic significance too is an important ingredient to look for since known masterpieces have historical significance or even portray a specific historical event about a subject that is an important one to the whole of humanity, or more specifically about the widening of the planetary cultural base.

If math is used to create the art it should be precision. The reason is again if you check a known masterpiece you'll find that the math and the architecture are perfect, for that reason the execution of perfect math and lines is a validatable possibility.

It must be well painted, and that is a real eye opener! Starting with the substrate, canvas linen is the best, fine portrait linen is the very best, especially if it is oil primed. Acrylic primed is only okay in a pinch, but oil primed fine linen is the very best. The visual quality of the pigments, the flamboyant use of the materials that shows off the product as if to say, "remember this is paint"!

A really great painting is always first a great drawing, even under or before the paint. contigently have:

  1. Dramatic light
  2. Light in the shadow
  3. Detail in the shadow
  4. Both cold and warm
  5. Grays to rest the eyes
  6. Color surprise - meaning relative local colors
  7. More than three dimensions
    • Blacks
    • Whites
    • Color Addition
    • Subtractive color
    • Glazing
    • Metallic Application
    • Dimensional enhancement
    • Texturing of "Coo-scurio"
  8. Beautiful in all different lighting, as if not to need it.
  9. The origin of the image in the case of a masterpiece should be from the minds eye of the artist, rather than a copy of any form such as a snapshot or as derived from seeing someone else's art work! If it's really an original oil it is from the artist's (same artist) original idea!

Art is an emotional language and as such is representational in nature. All of the symbols found in the said art work are the key to understanding what the art is saying. Is it just a wave slapping and the beach or is there more of a universal rather than a personal statement to be seen if all things are considered. Does the art have a mood or a particular atmosphere that is not as obvious as the wave? Remember that since it's a language it represents feelings and even if it's only a picture of a duck! quack quack! If a real artist painted this duck you better look again to see if you missed the emotional message, why a duck? If you look close enough you'll see and feel the message if it's real art, it will speak to you!

Now we come to a subject of real authentic, certified, genuine, first, original duck in the world- there are a sufficient number of ducks so as to establish origin of image in the event another artist claimed to be the first, Ha Ha! I am sure that the same situation in the evaluation of waves slapping up on the beach would have interesting similarities.

The real message regarding the origin of the image is in the mood and atmosphere in the artwork which represents an emotional "fingerprint". Look for other visual cues for stimulation, leaves rustling, a secondary light source or even magic lighting. These emotional signatures are much easier to authenticate than a blatant copy of my wave or your duck.

When something is painted purely for money it has a definite stultified look about it even if it is highly detailed it still does not have that certain "je ne saia quoi!" and its absence is enough to: not ignite the emotional senses so as to even produce a response in the sophisticated viewer unless he is motivated by greed or misrepresentation.

Duck's by the inch or waves by the canvas roll, to companies who outfit living room suites in furniture stores is not art as it should be, but it's an opportunity for some to make money. It is an art form or a form of art, but it is not fine art even if the sign said it was!

Take an original like: "Leda and the swan" a classic theme. Before you ask yourself who did the original, ask yourself what matters most - the origin of the idea or how does this image make me feel. The fact is that the idea of "Leda & the swan" is a classic theme from long ago, like in long long ago and far far away, and yet it appeared in the writings of William Butler Yeats, and then portrayed in the theater as a theme it is an ideal for any artist and many of the greats have painted Leda & the swan including Salvador Dali. In each case a fresh approach with sincerity by an accomplished artist has yielded profound emotional interplay in the challenge of representing feathers and gala-naievety, curiosity, strange haunting and taboo come to mind instantly.

The whole idea is that the visual impact must be full of mature emotion. Without even seeing the artwork you can use your imagination. How would a child paint the human form? How would a twenty year old boy paint a nude girl? How would an old man paint a nude? The emotion is set in three different ideals: The child is all feeling and not much in control, his art of the human form is usually humorous, entertaining and full of feeling. If you were to show these artworks to other kids they would most identify with the emotional aspects. The young man would portray passion and beauty and would paint quite a sensuous picture indeed, to which his friends in the same age group would respond accordingly. They would be very critical of the each and every curve, however the picture would represent how they felt about a young beautiful girls body. The older mature person who paints the human form is not focused on the body physical, but rather from experience and comfort of having been around a naked girl would of course portray the details and curves, but with a sense of representing maturity that brings about the character and spirit in the model, and perhaps even show what the girl is dreaming about. This then is an attempt to show that art is an emotional language and when you look you will see the difference.

Since art is an emotional language it is the artist's way of communicating with the world. The artist offers his point of view. You may say that portraying his view and examining the emotional perspectives in his or her function in society. Developing meticulously the image that best shows the exact feeling and meaning which he or she shares with society. California law has been written in such a way that protects the art and the artist for reason of the simple fact that art enhances culture and is considered to be in effect - the opposite of crime.

If it's real art the meaning of the art has a genuine value to everyone and the public would do well to pay attention because the art could have a profound effect on peoples social activities. More often than not, exposure to art causes an effective creative urge in others, or art causes art, in a monkey see monkey do fashion. When ever too much emphasis is placed on selling art, or the monetary value of art, the real truth about the art can be obscured. The price one pays for a work of art is really not the object, although a handsome price does add to the sensationalizing of a particular type or style but that is about marketing not art.

Artists have a genuine responsibility in not allowing others to influence the art, all too often the dealer or sales person thinks he or she should influence the artist so as to curb the talent or control the artist.

The original point of view:
Together we as an art community are the leading edge of communication skills for still yet another new age now dawning. We must set an example that is unparalleled. When examined we must be found to be what we say that we are. It is highly important that the public sees what the artist has intended for them to see. To this end the law must defend the artist for his sole license to what he shall paint.

In plain english - The artist shall be the only person who shall determine what he shall paint and shall be the only person whom shall determine the value, worth and price of a work of art. Legally, if an executive of an art gallery asks, and or requests an artist to paint a subject & the artist paints what the dealer says to paint, the law says the art work is either a commission accepted by the artist or it is handicraft. It is not fine art. If a salesperson sells a painting (being painted by an artist who was told what to paint) and the customer thinks he's buying fine art and in fact he' buying handicraft, it's fraud.

To the serious artist, there is only the exquisite corpse.

  1. No Beef Cake - No Handicrafts
  2. Commissions - yes
  3. grants - yes
  4. sponsorship - yes
  5. purchase - yes
  6. collecting - yes

An artist may wish to participate in a certain margin in a given market. So he may engage in multiples of three hundred or less:

  1. Collectable - 300 or less
  2. Scarce - 100 or less
  3. Rare - 50 or less

Works on paper market, complete with Tirage, preferably with silk lined boxes and bold embossed.

In the real art world there is no such thing as wholesale, or 50% off. If it isn't an absolute treasure now it never will be! Price paid to the artist is the correct answer rather than wholesale! The word retail is never used in connection with fine art, for it implies that there is a hidden agenda, wholesale! Never do we use the term retail! This is not cowboy boots or shoes, it's art!

In the real art world the word original is the value word that has the most meaning. How could some other person design a picture for an artist to paint and then use the word original? Art fraud! Management may intend to do well for the whole establishment by thinking it knows the direction the public is going to be buying, and there by think well, "If I were the artist I would paint blue spots on everything I could find that was red." Clearly, someone who only knows how to let the image come into existence should not be compared to someone who will decide what the artist shall paint. It only has any remote possibility of becoming fine art if the artist is the only origination.

Not withstanding, the dealer would like to (separately) purpose that we target an invoice - or establish an entry level product complete with description to the dealer. A handicraft, No. A multiple complete with tirage and an accurate apparatus which guarantees the limit of the edition with no less than twelve point disclosure and the 1991 legislation in California requiring proof of identity and signature of artist notarized. Also a photo of the artist working on said project in an incomplete state, and same artist with said art work in a completed, finished state.

Serigraph yes! Photomechanical No! 300 or less yes, 400 or more No! Ideally start with 400 pieces of various papers, in specific order in numbers to be determined after proofs made on at least twelve different papers. After production of the serigraph made from hand made screens by the artist. The artist will sign and number approx. 300 depending on how many survive production in pristine or mint condition. Pulled by the artist. Every one will be signed and numbered by the artist, both in the image and in the border of the paper.

The individual signatures will be photographed and the film developed in triplicate on 35mm slides, and each and every one registered with the Vancouver Image Bank, for retrieval by the artist or any federal agent or member of the Society of American Appraisers & the American Society of Appraisers as well as Sothebys. Proof of the artist's signature via public notary, with apparatus that guarantees the limit of the edition. It is in fact against the law for an artist to fill an order for a dealer!

Any artist who knowingly accepts an order from a dealer to do a painting or work of art which the dealer has asked him to do, it is a violation for both the dealer and the artist. Knowingly or unknowingly if the artist paints what he is told to paint it is a violation of the 1976 Fine Art's Act which initially made the distinction between Fine Arts and Handicraft a matter of fact.

The crux of the matter is that if the work is handicraft, then to represent it as art is fraud!




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