Self-taught artists do not have the benefit of critiques of every class creation. They miss out on the chance to see how their work measures up against others approaching the same subject. This experience alone helps the creator see their own weakness or strength in compositions, skill, perspective, and/or originality levels. They do not develop the thick skin needed in the professional world for the amount of rejection we all receive; regardless of skill.

Self-taught artists rarely put in in the hours it takes to master drawing or painting skills. Three years drawing regularly and four painting are the norm, not the exception.

They do not understand the chemistry of their materials for safety and longevity. They may create a masterpiece only to have the finish bloom or crocodile in a few years or wind up with lead, cadmium, or cobalt poisoning.

Self-taught artists do not easily learn the competition process or the business end of art. Every business, especially the arts, has its own dictionary. The language of art is not only required to learn new skills but vital to communicate with collectors, dealers, or sometimes write artist statements.

Self-taught artists rarely have a long-established art community to support them. A good portion of creating revolves around problem solving. Having peers around that are not competing and understand technical difficulties is priceless.

They do not have the art history background to learn to connect how art reflects its time or society. It allows you to recognize what has been done or overdone.

Mastering color theory can take you years with professional training. Many self-taught artists use colors straight from a tube that are garish at best, fugitive at worst.

The biggest mistake I’ve seen by self-taught artists is not visiting art exhibits. Visiting contemporary art shows or museums regularly trains us to observe the work of successful peers or art masters of the past. Their untrained eye doesn’t know how easy others spot work that has been copied or just poorly copied.

There is a reason a good art school costs more than law or dental school.

 

 


Uriél Danā at the Getty Museum
At the Getty Museum

Uriél Danā has been honored for her work as a fine artist, writer, and lecturer for more than four decades. Her oils, gouache, and lost wax bronze work have been shown in 12 countries on 4 continents. She is a former U.S. State Department Ambassador to the Arts under the Arts America Program.

Her oil paintings and drawings are included in dozens of private, corporate, and celebrity art collections. In October 2015 two of her paintings were selected for the Carousel de Louvre exhibition in Paris, and she was included in the catalogue Modern Art Masters in Complex Musée du Louvre.  Her work was included in the landmark exhibit “The Otherworld” (link) featuring the history of Visionary Art. The exhibit spanned 2021-2022 at the Roland Gallery in Los Angeles’ California Lutheran College.  From 2022 to 2023 one of her drawings was featured in the Small Works exhibit at the MEAM (European Museum of Modern Art) in Barcelona, Spain.

After serving in the United States Air Force, Uriél attended Rudolph Schaeffer School of Design in San Francisco, studied Sculpture, Museum Management, & Art History at College of Marin, Kentfield, and apprenticed 4 yrs with California Surrealist Master Painter, Gage Taylor in Marin. In addition to her own art career, she was known for her painting collaborations with the late Gage Taylor under the name Taylor-Dana.

Uriél curates two fine art streams on BlueSky: of Contemporary Figurative Artists and Japanese Woodblock Prints.



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