Commissioned Art and Personal Paintings
These have been interesting days at the studio. There have been times in the past when I’ve been getting ready for a show or just in the throes of creative inspiration surrounding a certain theme or medium. These would be considered periods of “personal” work for an artist, periods when deep feelings come forth in symbolic form, or intense exploration of a certain material like watercolor, oils, or sculpture is the object of an artist’s intense, and perhaps temporary, focus. We think of Picasso’s various periods like his “blue period” as an example of this, or Michelangelo’s invention of “mannerism” in sculpture.
Surely these kinds of “periods” in my life have produced a lot of work I feel very good about. Working in a series is considered one of the most creatively stimulating kinds of approaches to producing a body of work online doctor prescription for viagra. And needless to say, this kind of work produces many of an artist’s most personal expressions, making personal artwork very important, if not publicly, at least in the artist’s own repertoire.
“The Night Hunt” Acrylic Painting by Dean Vigyikan – a “personal” work
I started out saying that these have been interesting days. In stark contrast to times, some not so long ago, when personal work was by far the bulk of my creative output, these days have been the exact opposite. I currently have no particular projects in process of a “personal” nature! Every piece I’ve recently completed, am currently working on, or have planned for the near future, is a commissioned work, or an artwork requested specifically by a client. These include subjects ranging from cartoon-style book illustrations to fine art pet portraits in oil or charcoal.
Some artists really have a strong preference one way or the other. Some thrive on taking requests from a client or even a boss who has an idea in mind, which it is the artist’s pleasure to fulfill with excellence. Others cringe at the idea of “design by committee” or taking creative instruction from another, or even being asked to create an image of some subject that isn’t within the cadre of his or her particular circle of thematic interest. As for me, I consider myself lucky in this regard. I’ve taken equal thrill on both sides of the coin. Some of my most challenging and rewarding explorations have been within the realm of self-imposed creative directives. Yet many of my proudest artistic moments and favorite results and processes have come about in fulfilling another’s request for a project. Perhaps this is partly true because my background has been stretched across a number of styles and techniques from caricature to classical oil painting. Having spent a lot of time on many subjects and media, it’s a bit like coming back to visit an old friend each time I get to re-engage in a particular artistic discipline.
People naturally inquire as to what is an artist’s main subject, or what he or she prefers to “draw.” I tell them the truth in this. For me it has always tended to be living subject matter like people and animals. Everybody has preferences. Does this mean I turn down requests for other subjects? Typically no. My love of art as an expressive vehicle is very deep and I take great joy in employing it at nearly every opportunity. One might rightfully ask, “don’t you ever get bored drawing this or that all the time?” While I agree that variation in life, as in art, is necessary for joy and emotional well being, I’m still waiting for a day when it’s not a joy to create a work of fine art in any subject.