Abstract Surf Painting, Abstract Beach Painting, Wall Art, seascape, Plages des Blanche Roches

Description

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Did You Know Did You Know? That with just inflation a painting:

• in 1982 that was sold at $600,  in 2020 is worth $2375?
• in 1984 that was sold at $2500, in 2020 is worth $8625?
• in 1987 that was sold at $7000, in 2020 is work $21783

This doesn’t account for anything but the value of the $ and nothing added for a lifetime of professional experience and worldwide exhibition history. Description Blue Dot Reserve About the Artist Description

  Abstract Surf Painting, Abstract Beach Painting, Wall Art, seascape, Plages des Blanche Roches

Extra Extra: From the Painting Log Presented at Smithsonian American Art Museum:

June 22 from the Log: “I just finished a larger work yesterday in a strong gale on the Baie of Dieban. It’s a beach of white stones., which I thought were beautiful. I happened to get lucky the day before & spot it 2 hrs before high tide when it was in it’s prime. So, I returned yesterday, it was blowing stink as the sailors say. I think 25 knots ~ anyway there wasn’t a boat in sight. I had to transport my canvas separately from my easel over the stones because my footing wasn’t sure and a large canvas is like a sail. With it on my back I nearly went for an excursion a couple of times. So, I put the canvas in the lee of some boulders and weighted it down with stones, and hiked my easel out to my view of the beach and set it up without extending the legs ready and waiting for the canvas. I put 6 (5-6 lb each) stones in the back box of my easel and it still rattled. I was like building a fortress of stones. Then I brought out my canvas 31 x 22 (with out much thought of how I was going to get this canvas as a wet painting back to the car mind you). Literally felt like a bird a couple of times.  Latched it down and sat down to rest, sketch and wait for the moment to paint.  It was still 2 hours off till the waves would be at their prime and the wind was whipping around so I didn’t know if I would still be there by the time this master plan started to unfold.   I started with the rocks, composition etc… and 2 hours passed and I captured the piece I wanted when the waves came in. I’m pleased hoping to exhibit it in a couple of shows this fall.”

Blue Dot Reserve

I invented the blue dot reserve for collectors who saw a painting at the show preview that they wanted to purchase, so that they could bring a spouse or friend to see the piece before purchasing.  The piece would hold for the first 15 mins into the show opening.   Blue dots were applied on a first come first serve basis.  Once the show started if someone else wanted to buy the piece the blue dot collector had the right to purchase the piece or the blue dot was removed and the next purchaser was free to purchase.  This eliminated a lot of acrimony when collectors are vying for the first dibs on paintings.

My first experience with this phenomenon was at the Greenwich Workshop Galleries shows during a “Of Ships and the Sea” exhibit when Graham Stiles was the director.   He had a number of collectors come in for an early preview for work and those collectors would be able to buy paintings during the preview.   While that’s great for the artist in the gallery it isn’t particularly fair to novice collectors who would be furious when at the opening they saw red dots.  So the blue dot eliminates this problem and everybody relaxes a little.   All is more fair and open and anyone can put their blue dot on a piece to hold it while they bring their spouse, aunt and uncle and whomever and that way they know they’re sure of their purchase.   A collector does have to buy it within the first 15 minutes of the show with a preview blue dot and collectors would come by and say is that painting being bought and if I call out and say who’s blue dot is this and they’re not there they lose out but they’ve been given a fair shot and most the time it works out really well for everybody.   Everyone gets what they need and they want and then the next round those collectors that didn’t come to the preview and put a blue dot on a piece are aware that they can do it and so then they do.

 

during my shows at the Audubon could also use a blue dot to hold a piece while purchasing.  it eliminated a lot of confusion and sell out shows made the artist happy.

About the Artist

Original art are all on linen canvas and one of a kind paintings by the artist.

Deborah is a long time professional artist who has lectured at the Smithsonian American Art Museum on color and plein air painting and has exhibited her works in museums worldwide.  For more information about the artist see her online portfolio of fine art and her cv/biography

About the Artist: My Online Studio is an extension of my studio. When you enter you are entering my studio but without the housekeeping. I offer fine art in original oil paintings on linen and also canvas prints of favorite original pieces. Most of my originals in the past 20 years have been painted en plein air ( on location) I have lectured and made film presentation at the Smithsonian American Art Museum, exhibited at the Carrousel du Louvre, and museums through out the world see by exhibition history at Exhibition History
The next 30 years I expect to be doing a combination of unusual water portrait work and collector’s favorite, my beach scenes with people. If you have questions feel free to ask.
For more information see

https://gallery.deborahchapin.com/exhibition-history-of-35-years-in-paint-by-deborah-chapin/

Deborah Chapin’s Marine paintings have a long exhibition history starting with American Society Marine Artists in 1980 at the now defunct Grand Central Galleries in NYC.   As an Independent artist since embarking on her career she has exhibited extensively in top shows and Museums including: Grand Palais and Carrousel de Louvre in Paris with the Societe National des Beaux Arts, Mystic Seaport Gallery International since it’s inception in 1982, Of Ships and Sea Exhibits at Greenwich Workshop Gallery,  Artist of America Exhibitions Colorado Historical Museum, Ketterer Kunst Auctions, and Lectured on plein air painting at the Smithsonian American Art Museum just to name a few.    All this was accomplished without the aid or support of galleries, art groups or spouse.   At the time of her debut she one of two women in the national exhibitions of Marine Art.   See more information    https://gallery.deborahchapin.com/exhibition-history-of-35-years-in-paint-by-deborah-chapin/    She now resides in Maine and is working on a new portfolio of work and commission paintings for select collectors in her private studio/gallery.  

Deborah Chapin on Maine’s Coast