DAAG: INTERVIEWS: CHARLES WALDMAN

Interviews

The Directories of American Art Galleries

December, 2002

An Interview with

Charles Waldman

by James Leonard-Amodeo

The first impression I got from Charles Waldman's work is that it is fresh and vibrant; it has life. It reminded me very much of the work by the founders of Impressionism. His stokes are broad and the paint thick. Most of Waldman's compositions are representative of the North-Eastern side of California. He paints the foothills, the valleys, the mountains, and one of his favorite spots is the Yosemite National Park.

When I first met Charles, my first impression was that he was a timid person. It was hard getting a word out of him. I had asked him for an interview about 6 months ago but he couldn't do it; either the idea intimidated him or it was true that he was too busy to accord me the necessary time. Finally, about two months ago at one of his Receptions, I asked him again. To my surprise he said yes. We had set the date for December. Not long afterward, Charles emailed me and said he couldn't do it for December. I proposed January. He said okay. I had booked Peggi Kroll-Roberts for December, and in the beginning everything was going well with my interview with her. Then, one week before the deadline, I realized Peggi would never be able to complete the interview with me in time. I called Charles Waldman and explained. He agreed to accommodate the situation and we hustled. A day or two into our conversation, Charles emailed me and told me he was really enjoying our conversation.

Here, then, is an interview done in haste but of which result I personally find highly satisfying. There was flow in this conversation between Charles and I. And there was spirit. I believe you will enjoy this Interview with one of the best landscape artist of Northern California as much as I enjoyed conducting it.

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How long have you been painting?

I started in 1987 with Heinie Hartwig. My first plein air workshop was with Clyde Aspvig in 1989. I've been painting mostly outdoors since then.

What, in particular, did you learn from Hartwig?

I had everything to learn. He introduced me to many technical aspects of oil painting. I learned to create paintings for the first time in my life. This was very exciting and satisfying. Most importantly, I learned the concept of values, the light/dark masses in a painting. This remains one of the most critical aspects of constructing a painting. This is an area that many artist have a difficult time with. I'm glad I learned something of this right from the beginning. This is not to say that I haven't forgotten this lesson and have had to re-learn it many times since then.

Another teacher of mine, Clyde Aspevig, would tell us to learn from looking at art--but make sure it's the "good stuff". But it was Heinie Hartwig who introduced me to the Barbizon painters and George Inness. Heinie encouraged me to read books about painters and would take us for museum visits where I also learned about many other painters. Several times Heinie would say, "next time we're not going to paint; it'll be a surprise." Off we would go to some museum; the Haggin, Crocker, Oakland, or the Hearst Gallery at St. Mary's College (Keith collection). It was very interesting and exciting all at the same time.

I saw a demonstration by Hartwig several months ago and I couldn't get over the speed at which he paints. Are you a fast painter, too? Is speed important--especially outdoors where the light fades so quickly?

Yes, He paints fast. All my teachers, Hartwig, Aspevig and Goeschner, paint fast. Painting fast is not necessarily the goal; it's understanding what you want to "say" in a painting and knowing how to do this. The speed comes from this. However, there are times when this skill is needed; such as capturing the last moments at sunset, etc.

Is there any particular reason why you chose a career as painter?

I'm not sure, but I do know that I have been fascinated with paint all my life. It's one of the few truly self-employed professions and I've discovered that I'm not a "good employee."

Do you feel your peers may have influenced the career path you've chosen?

Yes, Heinie felt I could "make it" as an artist, right from the beginning.

The encouragement from Heinie was an important determinant, then?

Yes. I had a medical practice at that time and had no intention of becoming a full-time artist. I was selling my paintings in galleries but it was still an avocation. He would say," You could make it." I guess this stuck in the back of my mind; so that when it came time to make the decision to leave medicine, I felt it was the right path.

Can you tell us a bit about your ethnic background?

I'm a second generation Californian. My father's family were children of German immigrants. My mother is from British Columbia (Vancouver Island). Her folks were from Scotland and Yorkshire. They homesteaded in Canada; first on the prairie and then in British Columbia.

Was anyone in your family an artist?

My older sister was a wonderful artist. I grew up with paint, clay, sculpture, collage all around me. My mom, though not an artist, took us to great art exhibitions. By the time I was 10, I had seen Rembrandt and Van Gogh exhibitions....and art shows in the Bay area.

What kind of art did your sister do? How much older was she from you? Did she allow you to participate in what she was doing at any given time?

This was in the 1950's, so she was painting in that style. She was influenced by the Bay Area Figurative School and the Society of Six. It was bold realism but very much abstracted. Looking back, I'm even more impressed with her abilities because she was only in high school and painting in a very mature style. She went to the California College of Arts and Crafts on a full scholarship. However, Berkeley was the center of a lot of conflict then, and her focus shifted from art. She never took it up again, which is sad to me. She is 7 years older than I am. I was so young when she was in high school that I really couldn't help any. I watched and was inspired to try my hand at it in the ways I mentioned.

Do you have any of your sister's paintings?

No, my mom has several hanging in her home.

Where were you born and grow up?

I grew up in Lafayette; a rural (then) town in the East Bay area. We moved to Fairfield (CA) when I was 12. We moved to Sunnyvale (CA) my senior year in high school and then it was on to UC Davis. I spent 8 years there; getting my BS in biochemistry and my MD in Family Practice.

So you became a medical professional?

Yes, I was a doctor (MD) for 25 years. I graduated in 1975 from UC Davis. I trained to be a Family Practioner and worked here in Sonora from 1978 to 1999.

It seems such a drastic change from medicine to art! How difficult (or easy) was the transition from one profession to the next?

It may seem like it was a "drastic change" to many people, but I felt it was the only path for me. Have you read the article I wrote on this In The Plein Air Scene (October 2002)?

No, I haven't read your article in The Plein Air Scene. Where can readers obtain a copy?

The Plein Air Scene is here: www.thepleinairscene.com. I was the "featured artist" in the October/November, 2002 issue.

What was the reaction of your medical peers (other doctors, nurses, etc.) when they learned of this great change you were about to make?

Most doctors were envious. Medicine is going thru some bad times right now. I feel that medicine has lost it's focus on the patient and is following a business model. So, doctors who entered the profession with great intentions are having a difficult time dealing with the "business culture" running the show right now. The only good thing is that it can't last; it's just a phase. Even though they don't have any idea of all the hard work involved to make a living as an artist, they're still envious.

Some patients get very attached to their doctors and even depend on them to extremes. Did you have such patients? How did you feel having to "abandon" these people?

This attachment goes 2 ways. I miss some of the patients very much. Leaving them was the greatest difficulty for me. My health was suffering; so that made it a little easier to resign myself to a change in career. It was not because I wanted to leave, but because the personal health issue forced me to leave. Previously, I had enjoyed the balance between the "art of medicine" and "the art of painting". Today, in Sonora, I see some of my patients all the time in stores and the like. Some of these people understand why I had to leave them, and some don't.

Can you remember any art influences during your childhood? For example, in school, at home, at a friend's home?

I can remember my first self portrait in kindergarten. I thought it was great...my teacher wasn't very impressed. I wasn't a good student. A 5th grade teacher saw that I loved making things, so she allowed me to just read and create multimedia reports in lieu of just the usual book reports.

One of my neighbors had a long chalkboard in his hallway. We spent hours drawing elaborate battle scenes, etc...a great way to let our children's imaginations run wild is with chalk. I was able to attend weekend art classes...with children and adults.

I was in one of the first art classes at the Mendocino Art Center (1960). Bill Zaka started an art colony and school there. Unfortunately, being the 60's, no real instruction was given....just "express yourself". This was hard for me to take. I wanted to learn to paint what I saw. I painted a view of Mendocino on a stormy day...I wasn't satisfied with it. This experience discouraged me from trying to paint and I didn't take it up again until I was in my late 30's.

In your late 30s you were already a medical doctor, I assume. So, what was it that coaxed you back into doing something you had wanted to do while much younger?

Part of it was my growing disenchantment with the "science" and business of medicine. View what the pharmaceutical industry is doing with promotion and drug "research" now as a symptom of what's occurring throughout the profession. Yes, the hours are hard, too, and I never knew when I would be up all night and still work all day the next.

I believe strongly in the Mind-Body connection in all things--the psychological aspects. It's much easier for a doctor to just focus on the "body". If you pay attention to both, you're a better doctor for it. This is the "art" of medicine. Like any other art, it requires that you "take time"...to listen, observe, dig into your own feelings and instincts. This is exhausting. I did it while in the medical profession but I couldn't do it anymore. I suffer from Grave's disease (thyroid). This became active just before I left medicine. I won't say that medicine caused all of it, but I believe that we can't separate what happens to us from what happens in us. So, I chose to live the "art life".

Our own experience as a child seems to be saying that it is important for parents to assess a child's abilities and encourage those God-given qualities he may have.

I can't emphasize this point enough. You can't expect the schools to do this. I was fortunate in both respects in that I had a teacher and my parents recognized that artistic ability was part of me.

What were some of the things that may have inspired you to become an artist outside of family influence?

I remember the thick paint of Rembrandts'. I've always wanted to do that.

What do your parents think of their son being a fine artist?

---My mom is very supportive. She knew that my medical career was making me ill and is glad that I changed. My father died when he was 63. I think he would be happy as he never felt medicine was very good at being scientific. He was a scientist, but a philosopher, too.

What kind of "scientist" was your dad? I mean, what science did he study?

He was a chemist. He started college at 15 and was hired as a research chemist before graduating from college.

Where was your very first art gallery show?

In 1988 I had my first solo exhibition at the Central Sierra Arts Council in downtown Sonora, California. It was a success. I was still painting like my teacher, Heinie Hartwig, at that time.

Were your paintings all landscapes?

Yes, landscape and western genre scenes.

There is a difference between landscape and western genre scenes?

The focal point (I believe) of "western" paintings are the people/animals or the story being depicted by these. The landscape becomes secondary to the figures and the story. The viewer is aware that the backdrop for the action is western landscape but the focal point remains the figures.

Can you share with us how you felt the first time you sold one of your pieces?

I was, and still am, honored that someone would connect enough to buy a painting of mine.

Can you explain your meaning of "connect"?

This is the magic of the art of painting. It starts with the artist connecting to the subject he wishes to paint; connecting with this subject in a way that is more then the idea of "just making a picture". It's that first step in the painting process, the inspiration; the muse saying," there is a painting here." I think the artist has to be excited about the painting possibilities in the subject. The subject is not important; it's the excitement, the connection that is the driving force. This is what shows in a painting--if it's there, of course.

I think this is what the buyer sees or feels in the painting. It might be a conscious or an unconscious "feel" but it's there. So, in this way, the patron is connecting to the same feelings that the artist had. The buyer is the final link in the painting process. Even though the patron may not have the time or skills to create a painting, he can participate in this way: buying it for their collection. Art is one of the few things you can buy that has "spirit". It's the chance to connect to this that is part of the purchase just as much as having a picture to hang on the wall.

Is any of your work licensed out to, say, companies that sell posters and prints?

I am in discussions with a company here in California that is interested in publishing fine art posters of my artwork. Nothing has been concluded yet but I think we'll probably have some kind of agreement reached by the end of the year.

Did you attend an educational institution of higher learning to perfect your art?

No, I've learned from tutors and workshops. Most importantly, I've learned from painting on location...from life.

How important is it, do you feel, for a person to go to school to learn how to paint? or is it even necessary?

Like most things in life, there are many paths. A good art school training is very valuable. There were times when a good education was hard to find. Even when it was, to quote Robert Henri (The Art Spirit, pg. 198), "because of our education we continually get off our track, but the fight is a good one and there is joy in it if there is any success at all. After all, the goal is not making art. It is living life. Those who live their lives will leave behind the stuff that is really art."

So, regardless of where you learned to paint, you use this information and all the life-lessons you have learned along the way to create paintings unique to you. Having said that, I try to consider myself "in school" all the time. I ask, " If I was in art school, what would I study?" My answer is, "the language of painting". This is: composition/design, color/values, edges, brush techniques, and drawing skills. I draw from life. I take time to observe, to "be present". I live life.

Who were the artists that you most admired as you settled into your career as a painter?

I've always liked a whole range of art styles. For the first couple years, I focused on the late 19th century painters including: The Barbizon School, George Innes, and the painters of the American West ( Remington, Russell, Moran, Hill, Bierstadt, Kieth, and others).

Who are the painters you admire most today?

My tastes shifted quickly as I discovered Schmid, Aspevig, the California School, Sorolla, Sargent, Zorn, the Cape Ann School, and a whole range of others. I can't name just one or two. Gonske might be at the other (more expressionistic) end of the scale.

To what extent do you feel these painters continue to exert their influence on you?

Observing these different styles allows me the freedom to find my own style. There are all these ways to express yourself in paint; it's just a matter of finding what works for me. More importantly, the painters that I paint on location with (from students to masters), have a profound influence on me. This is just one more reason why painting from life is so important. You are the sum-total of all that is around you; the subject and the painters painting with you. The opportunity to paint with some really great painters in the "Sea-to-Shining-Sea" project is a dream come true for me.

Who were some of the painters involved in the "Sea-to-Shining-Sea" project?

Gil Dellinger is the creative force behind the current group. It grew out of a series of paint-outs over several years. Some of group are: Clyde Aspevig, John Budicin, Kevin McPherson, Matt Smith, Ralph Oberg, Ray Roberts, Chris Blossum, Don Demers, Marsha Burtt, Clark Mitchel, Scott Jennings, Curt Walters, Skip Witcomb, Steve Doherty....and many more. There will be a Sea to Shining Sea website at the Haggin Museum in Stockton, Ca, soon. The website for the museum is: www.hagginmuseum.org.

What would you call your particular style of painting?

Painterly...leaning towards representational more that expressive. I hope that it has elements of each. It is hard to put the style of my painting in one category; it's as difficult as stereotyping me because of my race or any other reason. My painting is who I am; call it whatever style you want.

Do you strive to achieve the styles already recognized in the world of Fine Arts?

As I said above, my style is who I am at the time I paint. I am influenced by all styles yet strive for none.

A musician, I believe, strives for style (rock, jazz, classical, etc.). Why wouldn't a painter strive for style?

A musician often plays someone else's music. A painter composes and "plays" at the same time. So, why does a musician pick a style to play...or compose? Is it economics? Is it past influences and training? Is it just what they like? Probably, it is for these and many more reasons. You (a musician) end up playing in some style at this time. A painter is no different; I end up painting in a style without trying to. Remember, "style" is an artificial label given to the artist by someone else. Take the Impressionists for an example. They were just trying to find a new way to "say something" with paint. The term "Impressionists" was initially a derisive term. I like the artist that said, " I survived all the 'isms' ."

Well, jazz is a style, and yet the essence of jazz is improvisation. The act of improvising requires spontaneous creation. Consequently, couldn't a painter remain within the confines of the restrictive style called "impressionistic" and yet be creative, or am I missing the point of what you're saying?

I suppose you are right. My only point really is that my "style" is a result of all the influences on me. Out of all these possibilities, I choose to paint the way I do. So, in this sense, I chose my style; which I think is, as I said before, "painterly realism". This is a very artificial term though and means very little literally. You have to view my paintings and come up with your own categorization. I just paint and let someone else label my "style".

I saw one of your recent works that depicted a scene of boats on water. This is very different from the foothills landscape characteristic of Charles Waldman. Will you be doing more of same in future?

I've always been fascinated by the shape of boats. They interest me, so I paint them. I love anything that has water; though I don't limit myself just to this idea. The concept is; the subject matter is of no importance. How I "see a painting" in the subject means everything to me. All we really are painting is an illusion of how light hits things. The "things' are not important; just how we feel about them as artists.

Earlier you mentioned Richard Schmid. Are you aiming at doing figurative work at all?

I draw and do some figure painting but just for myself. I'm starting to do more still life. I especially enjoy doing outdoor still life. I have always done, and will do, some figure work. I haven't decided whether I will show these yet. So far, I do them for myself. Part of what I like about Schmid, besides being one of the best painters alive today, is that he paints anything and everything.

Do you use a limited color palette?

I have about 12 colors on my palette, so I don't think this would be considered limited.

How do you approach your "lay-in"? Do you use your basic shades of gray or do you start with colors approximating what you see?

I paint in a direct manner. My goal is to be able to apply the paint that I want, where I want it, and move on. Very much in an alla prima concept. I draw just enough to know where I want to paint.

How do you decide the color, value and texture of the shadow in a given scene? Do you simply copy what you see or is there improvisation going on?

Like Clyde Aspevig says, "the answers are right in front of you." I also feel that the answers are right inside of you too. So, for me, the result is a mix of "what is there" and "what I want." Sometimes, the color may be more literal and at others more designed.

From a practical standpoint, I usually start with the "darkest dark". I feel that I will make fewer "mistakes" with the color/value of this mass. By "mistake", I mean what I don't want...and I might not discover this until later in the painting. Hawthorne tells us that "the first color you put down influences you straight through." (Charles Hawthorne, Hawthorne on Painting) I find this to be so true. I can paint this dark "as is" or design it to get what overall color scheme that I desire. I key the rest of the painting to this first dark and to what's in front of me.

How important is "mood" in a landscape?

This term has so many meanings that I'm not sure how Important it is. To some, anything in low light has "mood'. To me "mood' is the sum-total of who I am at the time that i am painting any given painting. So, "mood" is everything.

Is there anything in particular that you do to set the mood of a new piece? Do you use horizontal/vertical lines in a deliberate manner, for example?

I spend time ...being "present" in a Zen sense. So, the "mood' may not be a deliberate plan; just a result of what I want to say. Most often, a painting is about the lighting effect. The painting is an illusion of the effect of light. Our "mood" is affected by light. Therefore, any lighting effect that I attempt to depict will have a "mood".

Do you paint from photos at times?

I paint 90% from life...sometimes I use a photo to remind me of specific details, but I depend on the original oil sketch to breathe life into the new painting.

Do you ever experiment with new techniques and products?

Well, switching to water soluble oils as soon as they hit the market has required a lot of experimentation. There wasn't much information on how to use them. Some of the marketing information was misleading.

I note that you do workshops outside of your county, which must require lots of time away from home and the studio. How do you manage to keep a balance between your personal life and taking care of business?

I teach about 4-5 workshops per year. I keep them at 3-4 days; partly because I think that's the attention span of most artists and partly because they exhaust me. I put a lot into teaching.

How long have you been living in the foothills of the Sierra-Nevadas?

I've lived here for 25 years.

How old are you, and do you have any children?

I'm 53 and have a son, Matt, age 24, and a daughter, Sara, aged 22.

Are any of your children aiming to follow in their father's footsteps?

I don't think so.

Where are most of your workshops conducted?

Most are in California.

Do you do lectures in a college or school?

I feel strongly that we need more art in our schools. I do 1-2 Art Reach to the Schools projects per year. I started mentoring a senior from our high school each year. This is about 5-6 months of painting together with the goal of producing a show for their Senior Project (a graduation requirement). It's great to spend time with these young people outside of the school environment. I try to correlate Art and Life.

I'm also working on teaching at our community college (Columbia College). This will be either a back-country-natural history project or pure painting.

What topics do you address in your lectures, specifically?

My "lectures" are on location usually. The topic is plein air paintings of landscapes or still lifes using the "language of painting".

Do you make available any "sideline" teaching materials that people could purchase from you (books, audio/videocassettes)?

No, but I have developed some printed material for my workshop participants...I think it's helpful to have reminders of what I'm trying to teach.

What's on the printed material, for example?

It's just a bunch of topics related to the "language of painting" (composition, color, value, edges, paint quality).

How often do you paint per week?

Almost everyday. I paint 200+ paintings per year. I'm not trying to paint any set number; it just happens this way. Some days I can't paint because the magic doesn't happen and I come home empty-handed. Some days are just "business days".

Is it important for an artist to paint regularly?

I can't emphasize the importance of this enough. It's like anything else, "what you put into it is related to what you get out of it." I see people who want to be painters (and consider themselves to be so) who don't paint often; they bemoan this fact but still don't do it. It may be due to "performance anxiety". If that's the case, then the best cure is to paint! If you are passionate about painting, recognize that it's never easy ("every painting, first painting"-Chinese proverb), but you will make the time to paint regularly.

Do you have any plan or strategy related to organizing your life so as to be able to paint more?

I like having my studio in my home. I don't have to "go there;" I am there. My background in medicine, music, athletics and family upbringing has instilled a strong work ethic.

You were (or are) also a musician? Can you talk to us about this side of Charles Waldman?

I started with classical guitar at age 12. I quickly switched to folk music. Then, after hearing recordings of traditional American music, I took up the 5-string banjo. My sister also played a role in this as she brought home Folkways and other obscure labels (including Library of Congress recordings) of some very non-commercial stuff. I fell in love with the American versions of these mostly Irish and Anglo traditional ballads and dance tunes. My parents didn't want me to play the banjo and I couldn't afford one; so I made one. My dad always appreciated it when a person built things for himself; so this made it more OK. It was very "rustic" and hard to learn on. I built several more including the one I play still. I finally bought one several years ago; an 1890's model. I love the history and the sound of this one. I play at local contra dances, banjo contests, Farmer's Market, and jam sessions.

What about the "athletics" aspect of your life?

I started running long distance in junior high school. I ran on track and cross country teams in high school and college. I was always a middle of the pack runner but this was against some very good runners. After 40+ years of running, I have to just run-walk now. I also raced bicycles (road) and got to the US Olympic Trials in 1968. Now, exercise is just "getting Out"...it's meditative for me. Some of my freest thinking occurs at these times.

How do you handle galleries, fulfilling gallery needs, advertising, and travel to art events.

Like most people, I prioritize, make lists, etc.

How many art events per year do you do?

I participate (if I get juried in) 2-3 plein air events, 1-2 solo shows and several group shows per year.

Are these mostly local?

In and out of California. The "Sea to Shining Sea" project includes on-location painting from California to New York.

What is your preferred medium?

Water soluble oils.

Do you always paint with this medium?

I've always painted in oils and switched to the water soluble as soon as they were available. The thinners for regular oils were making me ill.

Could you tell us the brand names of these oils and where they're available?

I use Grumbacher MAX oils. I like the Windsor-Newton Artisan water soluble painting medium.

Since you used to be a medical doctor, your advice on the following question should be taken by readers as having some weight. My question, then: do you believe painters are harming themselves with many of the products used to paint (thinners, mediums, etc)?

Yes, most of the materials traditionally used in oil painting have an EPA warning label. I think this applies even to the artists who don't feel any ill effects from using them. There are accumulative risks. I had to change because they intoxicated me. I had headaches, dizziness, nausea, confusion, and lack of coordination.

What do you recommend artists should do to prevent illness from toxic substances found in the materials they use? Would you recommend wearing masks and gloves?

I don't wear gloves with the water soluble paints. They don't have a health warning label. I do wear a respirator mask to varnish which I do outdoors.

Is there any particular reason for choosing oils?

I love the textural possibilities of oils, plus they're forgiving to paint with. I hope to learn watercolor one of these days.

Can you talk to us a bit about your palette.

I set out my palette like the "color wheel." I start with cad. yel. pale and go around to sap green. In addition, I use several grays: raw sienna, yellow ochre, Naples yellow, and some pre-mixed grays (French blue+white, violet+cobalt blue+white, cad. red+yellow ochre, and a very dark aliz. crimson+ blue or viridian+ yellow). So, you can see, there are a lot of colors to choose from!

Do you use any specific formula to produce desired effects?

I often use a very thin coat of medium with or without cobalt drier on the canvas. This helps me use the water soluble oils with less thinner or with water as thinner.

Do you ever do any knife work?

I mix piles of paint with a knife so that I can scoop up a large amount of paint if desired and to keep colors fresher. I paint with a knife when I feel I need this effect...I go in phases how much I use it.

Do you paint on board, canvas, paper or on all three?

I mostly paint on Claessens 15DP linen which I glue to board for field work and stretch for larger work. I've started painting on board again (I started with this). I'm using a heavy rag board primed with shellac.

Who is your source for paints? What are your preferred brands?

I buy most of my paints from catalogs. Grumbacher was the first to come out with a water soluble oil (Max); so, I've gotten used to these colors. The color varies from company to company. I do experiment with different brands but I mostly stick with the one. It's a bit like a musician finding a favorite instrument.

Do you use special brushes or just buy standard products?

Again, because I paint with water soluble paints, I use brushes that go well with water. The Windsor Newton Galeria brushes (synthetic bristle) work well for me; stiff enough to push paint but hold a good edge when needed.

How many brushes do you go through in a year?

These synthetics last a very long time; more than a year if you take care of them.

Do you go out plein air painting or do you use photographs for your landscapes?

As I said, 90% is done on location.

So you do use photographs sometimes?

Sure, I don't always have all the information I need from an on-location sketch. There are some things that you can't paint on-location. For instance, the view that you want is from the edge of a dangerous road and there are many other reasons. However, to get "life" into the painting, I try to only paint these photographed subjects when I have some painted references in addition. In the above instance, I'll use another view of the subject from a safe place.

How do you approach this business of having to clean a brush in between color changes?

I either clean with water mixed with "turpinoid natural", clean partially with a paper towel or get a fresh brush.

What kind of solvents do you use?

I use so little solvent; anything works. I use only water as a solvent when I have to fly to a location.

Have you ever done watercolors and acrylics?

Not yet. I want to try watercolors because of the transparency. I don't have any desire to try acrylics at this time.

Yet, some very well-known artists use nothing but acrylics. Is there a personal reason for not wanting to use this medium?

I have my life full just trying to figure out oils. Because, I've learned how to use water soluble oils, I don't have a need to find a safer water soluble medium. Many artists are "driven" from oils to acrylics for health reasons. Mostly, I just like the look of oils.

When you approach your easel, do you already know what you are going to paint? Is it premeditated?

The time spent before I actually paint is the most important and most valuable time of all. I try to develop a "painting" in my "minds' eye" before I paint....I want a painting; not just a picture. This is the Art. Once I start applying paint; it's a mix of instinct, memory, conscious use of "the language of painting," and other unknown magical factors that can't be fathomed...the art of combining the conscious and the unconscious.

Sort of a "sixth sense" of sorts?

Yes. This "sense" is something, I think, that we are both born with and acquire with learning.

Before beginning a work, do you think in terms of composition, overall effect, lines, forms, or is it all dependent on inspiration on the spur of the moment? What is the thought process here?

The beginning is the slowest part. It is a complex mix of this conscious attention to the elements of "the language of painting" and the unconscious. What drew you to this place? What does this place (subject) bring out in you? What do you want to "say" about it? All this, and more, must be combined with the more conscious skills of painting in this early phase of the painting. If this is successful, you'll see it come together very early in the painting process. Now, the excitement builds and the painting almost "paints itself!"

By "conscious" do you mean learned techniques?

Partly. I think it's a mix of using what you have learned and learning to respect your instincts. If you are "conscious" of your instincts, you can better use them. For instance, many times you apply some color simply because "it feels right". Your conscious mind decides if you want to leave this as is, if it fits into the painting as a whole, or change it. Admittedly, this also is a conscious and unconscious decision too.

Does it happen that sometimes you have to draw sketches of a subject before committing yourself to painting it?

Yes, I'm going back to this more in this last year or so. I felt my compositions were a weak element often. Because color is part of my composition, I do small "color thumbnail sketches." These can be as little as 4.5" x 6" (a 9x12 divided into quarters) or 6''x8". I strive to do these in 5-7 (from Hawthorne) color masses.

There are many, many more painters in the world today than there have ever been before. Do you think this good or bad?

I think it is good. The collective "Art Spirit" generated by all of these people can only come to good.

Isn't it difficult getting gallery representation with so much "competition"?

It makes you strive for the very best that you can do. I must make a point here about the difference between "art" and "art sales". I feel the art ends when the painter is done with the last stroke. At least from the artist's standpoint. I made a point earlier that a further connection may occur when someone buys the piece. This may extend the art-process to it's final conclusion. I'm usually not aware who acquires my work, so the "art" stops for me when I put down my brush.

Now, dealing with galleries is "business," not "art". I think many artist have a hard time realizing they live in 2 very different worlds; one is business and one is art. Of course, one solution is to not sell your work ever and remain purely an artist. I choose to try to find a path in both these worlds. In short, you have to paint quality paintings and find a gallery that feels it will fill a need in their inventory.

How difficult was it for you to get into a gallery in the beginning?

It was not hard. I realize it was a combination of luck and being in the right place at the right time as much as the quality of my paintings. I would caution against showing too soon; before you have found a personal "style". I'll use this word for lack of better way of describing what I do. I started selling my western work and then had to find new galleries when I developed my plein air-painterly realism (or whatever term you would use) that I do now.

Can you give artists some pointers about getting into galleries?

Once you have finished a painting, think of it as a commodity. Look for galleries that could use this type of work. For me that means the gallery needs a plein air landscape painter who paints scenes from a variety of locations. Once you know what the gallery shows, you'll know what to pick from your body of work. For instance, I paint many paintings of my hometown (Sonora). It's charming and very paintable but I only show these pieces in my local gallery. I don't try to show them to a gallery out of the region. I don't feel there would be a market for them there. It's also important to get a feel for what kind of relationship you will have with the gallery. For the most part, this (the relationship between artist and gallery) is a business based on trust. Your word is as good (or better) than any contract. There are volumes written on this.

Some artists are really concerned about art marketing. Can you offer any advice here?

I paint, teach workshops and produce paint boxes for plein air painting. I have decided to show my work on consignment in various galleries around the country. I feel that this is their part of the partnership. I will participate in any marketing plans the gallery wants to try. It's a collaboration. There are other venues to sell your art work. If you choose the non-gallery path, then you have to be very concerned about marketing!

How important are the arts in our society?

It's integral. I think it's difficult to call it a civilized society without the arts. It's an important part of how we relate to each other as humans and how we relate to the rest of the world. Art reminds us that we're in this ecosystem together.

How does it do this?

It values what is there. It values taking time to really be present. It values questioning and expressing what's important to us. The earliest societies apparently valued art on their cave walls. It values constructive criticism. It values a certain amount of non-conformity. It values an individual's self-worth (i.e., your view is as valid as mine). It values beauty in even the commonplace. The artist helps society look at itself. In this sense, the arts serve as eyes to our place and ourselves. It values patience; love requires patience. It values safe risk-taking. Most importantly, it values living life fully. When Joseph Campbell, the philosopher, was asked if society was asking for the "meaning of life", his answer was that people just want "to experience life," nothing more....and nothing less. The arts are a record of this experience.

So, you're saying art has a very important role to play on more than just a social level?

Yes, in the sense that these are individual values that are enhanced by art. However, society benefits from this.

I don't understand how art "values constructive criticism." Could you explain?

I feel that, as an artist, I know how personal and how difficult it is to create what I do. Therefore, I'm very reluctant to criticize in a negative way someone else's efforts to this same end. If asked, I will offer what I would do...but only as a suggestion. I think this is very needed in a world filled with "road rage", violence, and what appears to be an eagerness to go to war.

I hear many artists say, "I paint to show people the beauty of nature." Isn't this a bit naive? I mean, anybody can see the beauty of nature; we don't need painters to show this to us.

I think that many go through life "looking" at our world but not "seeing" much. Life in the "developed" nations has become so hurried that we don't take time to be present with anything...ourselves or our world. Learning this "seeing" is the most critical skill an artist develops. Learning the concept of "being present" is one of the ways to learn this "seeing". James Joyce in The Portrait of an Artist as a Young Man tells us that the goal of art is to become "still". This is, in part, what the artist can provide our society: a piece of time...of "stillness" taken out of the hectic world.

Would you say such art as that produced by the abstractionists (Pollock and Diebenkorn, for example) is/was "non-conformist"? What is "conformist" art? and what are we "conforming" to?

Yes, I think so. I think they were actively trying to be different than the status quo. Every "ism" was a break from the current traditions or norms. Now that all the "isms" have been done, we're free to be anything we choose. We can be influenced by all that was done before and come up with something unique just to us.

Statistics reveal that today there are many more women painters than men. Have you noticed this in your workshops?

Yes, this is true.

Why the sudden change, do you think? I mean, not long ago it wasn't socially acceptable for women to choose being painters. What happened?

I'm not sure if this is a sudden change. I think that women have been in the majority in school art departments for at least the last 50 years or so. Old Photos of Merrit Chase's art school classes had a number of women (early 20th century). In the professional ranks, men still outnumber women. This has nothing to do with art though. For pure art's sake, it would be better if an artist never sold their work. This way, there would never be a market-pressure swaying the artist from their path. So, you are right, there are more women artists. I'm still not sure that this hasn't always been so.

When I say "sudden", I mean it relative to the speed at which women became painters before the 20th century. Since Artemesia Gentileschi's time (1593-1652), up to the late 19th century, for example, there were very few women painters. The paintbrush was simply not the womanly thing to do! Even the Expressionist French painter, Morisot, believed in the core of her being that a woman's role was in the home and with children. That's why she painted in private, not wishing to offend the male-driven world around her. Today, however, out of 10 million painters in North America alone, 75% are women! This certainly reflects a phenomenal and "sudden" change in social attitudes. To what do you attribute such a fantastic turnabout?

Yes, in the big time-scale, this is a "sudden" change. I can't pretend to speak for 7 million women. However, in a world that in a very brief time seems intent on destroying the ecosystems that we depend on for survival, and has frequently waged war after war, I applaud these women for turning to art. They have always been the "nurturers". We need this more than ever now.

But how would the fact of many woman turning to art be a significant contribution to the cessation of war?

I'm not wildly idealistic enough to believe that women (or anyone) painting will end war. I'm just saying I applaud the path these women have chosen. Instead of investing in the current trends that I mentioned, they have invested their time to the arts--a much more positive path. If changes in this world occur on a person-by-person basis, then this can only help.

Charles, I have immensely enjoyed talking to you and I'm certain our readers will also enjoy what you have shared here. What have you in store for the immediate future? Any big plans?

I'm preparing for the Holidays with my family and preparing for my next workshop (January 20-22, 2003). I'll start working with another high school student soon. Next year there are several trips with the Sea-to-Shining-Sea group. There's a renaissance of plein air painting going on here (USA). It's great to be part of it!

Where are your next shows?

I'll participate in the Miniature show at the Vault Gallery, Washington Street, Sonora (opening 7 December). I don't have a schedule made for next year at this time. I'll keep the Fine Arts Magazine informed as plans develop.

Do you have a website where we can see more of your work?

Yes. Please go here to view my website: www.cwaldman.com. I'm currently working to update this site.

Visit Charles Waldman's website: www.cwaldman.com

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Charles Waldman is represented by the following galleries:

1. The Vault Gallery, Sonora, CA

2. Heritage Gallery, Scottsdale, AZ

3. Panache Gallery, Mendocino, CA

4. Chapman Gallery, Carmel, CA

5. Trails West Gallery, Ketchum, ID

6. Phoenix Gallery of Topeka, Topeka KS

7. Wade Gallery, Taos, NM

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