Monday, September 7, 2015

SOLD!

SCHWABACHER WET #1 - oil - 6"x9"

SOLD!

AFTERNOON TREESTAND - oil - 6"x 8"

SAWHILL GOLD - DAILY PAINTWORKS AUCTION

SAWHILL GOLD - oil - 11x14

SOLD!

LEANIN' TREES - oil - 6"x9"

SOLD!

RIVERSIDE SPRING - oil - 9x12

SOLD!

SWIFTLY ST. VRAIN - oil - 9x12

TURKEY WOODLAND - DAILY PAINTWORKS AUCTION

TURKEY WOODLAND - oil - 8x10


Thursday, June 4, 2015

Critiques Available

I've been up to some things that need to be written about.  First is a new teaching option that I've been developing the idea of for some time.  It's a way for you to get your art to me for Critique.  But rather than as a digital representation, or a week of travel to a workshop, I am going to be accepting the actual paintings for critique.

My reason for wanting to do this, and it's going to be a lot of work on my part, is that there isn't really a good way to see the depth of a painting, of the artists' soul, other than by holding it in hand and seeing it in real life.  Some things are fine to critique digitally, but the subtleties are lost in that format.  Using my method, if it's necessary, I can make alterations by using an acetate overlay, on Your painting, to make corrections.  All of that is followed up by an objective written review, that I will return to you with your artwork.

If you think that you are interested in this, it's all explained below...
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Hands on Critiques 
Marc R. Hanson O.P.A.
Nationally recognized painter and sought after instructor, Marc R. Hanson, is offering a way to get a personal ‘hands on critique’.  Send Marc your art, receive critique, and the paintings will be shipped back to you with a Critique Review, explained below.  
Critique Fee:  I charge a fee of $50.00 / per painting. You may send one, two, three, four or five, up to 5 paintings, at a time @$50.00 each.  I am limiting the number of paintings critiqued per session (one mailing), to five (5) for ease of handling reasons. 
What is included in the Critique Package:   My personally written review, completed and returned to you for each piece paid for, and  submitted.  Possible corrections on an acetate overlay ( at my discretion based on if I think that it’s a benefit to the critique), suggestions for YOU related to the paintings provided, and anything else that I think will be of a help to your painting, are all part of the ‘Critique Package’.  
What is included for the Critique Fee:  All that is mentioned above… Plus the pick up of the paintings from the Post Office, unpacking of the paintings, safe storage of the paintings and packing materials, a truthful and honest (but respectful) Critique of your paintings, including the writing up the reviews, possibly making painted corrections on acetate for your painting(s), re-packaging with the packing materials (new envelope, or what it takes to ship back) that you provide (time and tape to re-pack provided), delivering back to the Post Office for return shipping (using your pre paid shipping/insurance label).  Following that, I will notify you in an email that the paintings have been shipped, with a tracking number.
My Critique will be my objective review of how well I think that you’ve implemented the basic artistic principles of visual art in your painting.  Those include, but are not limited to, Concept, Drawing, Value, Color, Design, Edges, and the other design principles and elements that make up a visual statement.  The returned Critique Package will contain your Art, possible alterations (in a separate form of media), and a Critique Form, containing comments made about the specific categories mentioned above.  It will also include suggestions about your art, for you.  I may contact you via phone or email if I need more information from you.  

What you will need to do: 
-  Contact me at: marchansonart@gmail.com, with your desire to take part in this program.
  • I will Invoice you using PayPal, based on our pre-critique conversation. Once the invoice has been paid, I will email you my ‘shipping address’ and you may send the paintings. 
  • Choose dry paintings up to a maximum size of 11”x14”.  Paintings sent that are larger than 11”x14” will be returned unopened, or at your expense. Paintings on panels would be preferred.
  • Package, insure and ship the paintings to me at the address I will provide to you, with ‘postage paid’/ ‘insured’ return label.  Include return shipping, packing materials included in with the paintings.  Paintings received without the above listed items, will be kept until those items are provided, at your expense. 
  • Please allow 4-6 weeks from the date I receive your paintings for the Critique Package to be returned to you.  My word to you is…I will do my best to identify and and address anything that I see in your paintings that I feel might be improved.  
Each critique is only my opinion, but one based on my education as an artist, on my 35 years of experience as a professional artist and teacher, and on my eye for what makes a good visual statement.  Any advice I pass on to you as the result of a Critique is only that, advice. 

I look forward to viewing your paintings and having an informative and educational discussion with you.
Marc R. Hanson
Longmont, CO

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My latest painting venture is into the world of so called 'water miscible', 'solvent free', 'water mixable'... oil paints (all the tag names used by various makers of this line of paint).  What they all have in common, is that they can be washed out of your brush, off your hands, clothes and palette, and I as a plein air painter I should add, off of your car seats, steering wheel, door handles... using plain old water!

I'm going to write up a long post about this class of paint as soon as I've had some more experience with them.  Stay tuned.  Here are a couple of pieces, one a studio piece, one a plein air piece, that I painted using these paints.  More to come...

'High Water Spring' - Holbein Duo Aqua Oils - 16x20 - Studio

'Swiftly St. Vrain' - Talens 'Cobra' oils - 9x12 - Location

Saturday, January 24, 2015

New Studio Work

This is a collection of studio work that I have completed since finally getting some extended time following about 6 months of traveling to paint in events and teach.  I normally paint on one painting at a time, but in the last months have been starting a new one whenever one I was working on, needed a rest, consideration or I simply needed a change of scenery.  The large oils have all come to a finished state, they're never really finished, in the last couple of days.  Thanks for looking in.

Oils and pastels...

'Along the Path' - oil - 30x40

'End of Another Day' - oil - 36x48

'Light Bank' - oil - 20x30

'Stalker' - oil - 30x40

'Beaver Work' - pastel - 16x20

'Old Milk House' - pastel - 12x16

'A February Snow' - pastel - 18x24

'January Hoar Frost' - oil - 8x9.5



Friday, January 2, 2015

Happy New Year!

This morning's 'over a cup of coffee' musing is somewhat of a continuation of my last blog post.  It's a New Year, a good time to reassess our lives.  I am avoiding the disappointment that resolutions inevitably bring, but I am trying to keep in the spirit of the season and am internally reviewing how the past year has felt to me.  In light of that...

Sometimes I feel like I want to rock, or even sink, the boat, with my art. You know, make some capital 'A' ... Art!  There are times when I wish it was that powerful, that it would stand up and shout annoyingly loud to be seen, to say something grating.  I don't mean in an 'artistically mastered aptitude' kind of way, but in it's raw expressive power.  To make the Art something aside from how or who I seem to be, in a public way, to others who know me.  Like the quiet, scholarly kid in school, who shows up at the talent show and kicks ass on a '68 Stratocaster ala Hendrix, and does it left handed!  To really dig deeper into the 'self' than has been done before.

Other times, I just want to find quiet, and the internal solace that making art brings to my life, and never let a painting be seen again.  To paint for my own personal expressive needs without the need to share it.

I know we don't find our voice, it finds us.  We will do what we do, no matter how hard we try not to... so all of this is moot really.  Yet I spend a lot of time wondering about this.

When standing at the easel, no matter how rebellious I might feel at that moment or on that day, no matter how much I might feel like painting something that is explosive, challenging and controversial; feel like painting something that would make my Mom call me up and ask if I'm 'OK?', I inevitably return to the peaceful kingdom side of painting.  In the end, I make 'pretty' paintings.  I am grateful that it is appreciated by viewers of it, and especially by the collectors who spend their hard earned money on it.  But I feel restless about it.

It makes me wonder what the potential in me is, or if there is, and if I have the nerve to expose it?

But, I am curious?  Are others just happy as larks doing what they've always done?  Or do you find yourself torn at times as to what painting should be saying about you?  Or finding a new voice?  Is that ever something that keeps you up at night, wondering if what you're painting is what you should be painting?  If you're one of us, and you solved it for yourself, how did you get there?

The two paintings below aren't put up here as an examples of what I'm talking about above.  I'm showing them as an example of something I did at another time, when I was thinking about this same subject.  The two paintings were painted in 2009 and weren't anything like I'd ever done before.  I painted with an empty head, with out any forethought.  I turned up the stereo and threw, smashed, scraped, and applied paint with my hands or anything else I could find at the time... exploring how the music that was playing... made me feel.  I tried to let that feeling come out of me during the painting session.  To let my emotional response to the music show in how the paint ended up looking on the canvas.

It was one hell of an exhilarating experience.  I did these two, one after the other, and could hardly believe how out of breath I was, and how 'high' I felt, tuned in to the music unlike any experience I had ever had.  I used up a lot of old, cheap paint I had laying around in boxes.  It was FUN!!! ( I even used my Francais signature... MARC )

Painted to some Lynrd Skynrd in 2009... "Skynrd" - oil - 24x30

Painted to listening to Miles Davis' 'Kind of Blue'... in 2009... "Jazz" - oil - 20x30