Art Competition Jurors

One of the favorite pastimes of entrants is trying to predict the kind of artwork a particular juror will accept, based on that juror’s painting style. Sometimes picking your entries in this way works and you get in, but I’ve also seen jurors choose an eclectic mix of styles and subjects, only some of which were like their own.

Art Tip # 1

My advice is just enter your best work – art that shows skillful use of your painting medium, a well-designed composition and an image that shows creativity. These are three important criteria of most jurors.

When you enter your best artwork, you are showing your strengths. After that, it is up to the juror and his or her viewpoint. And you’ll just have to accept the vagaries of the judging process. As a more extreme example of what can happen, I once had the same juror for two different shows. I entered the same painting in both art competitions and the juror rejected it from the first show and gave it an award in the later one. A nationally known artist told me a similar story about a painting of his. It was rejected from one national show and won Best of Show in another. I’m pretty sure he didn’t have my juror.

Photographing Your Art

Art Tip # 2

The second most important factor you control, after painting a great piece of art, is taking a good photograph of it. This is what the juror sees to judge your art; it needs to represent you well.

The picture should, of course, be in focus and show colors that closely match your art, so become proficient at shooting your own work or find a professional to do it.

What people who take pictures of their own art may not realize is the lighting conditions affect the color of your picture. Just like the old film cameras, shooting pictures with a digital camera using incandescent light bulbs will turn your picture more orange. Using fluorescent lights can turn the pictures greenish. Shooting outside when the sky is overcast can create a bluish tint, so look at your pictures closely before entering them.

A lot of people make the mistake of leaving their digital camera set on Automatic. To get the color in your picture to match your artwork, you need to understand how to set the White Balance. Every time you shoot under different lighting conditions you should reset the White Balance. Check your manual for how to do this on your camera.

Another award and entry killer is not submitting your entry in the required format with the required information. Always read the art contest prospectus. It’s amazing how many people don’t follow instructions, which instantly converts their entry fee into a donation.

Art Tip # 3

Film is going away, so my advice is to become familiar with how to prepare and send digital pictures.

Art competitions that require digital entries often want your pictures to be formatted in a specific way. The prospectus will often say your entry should have a black background and be X number of pixels square. If you don’t want to buy software (like Photoshop or Photoshop Elements) that will help you do that, there are free internet sites you can also use to format your pictures.

Framing your art

Okay, you’ve been accepted into an art competition. There is another important decision to make. How well are you going to frame your work?

Art Tip # 4

Often, the juror doesn’t pick the award-winning art until he or she can see the actual work. Your whole presentation affects that decision.

Matting and framing your art well are very important for two reasons.

Reason 1: If you have a nice piece of art surrounded by a cheap-looking frame or a frame that’s scratched or dented, you’ve just reduced the award-worthiness of your work in the eyes of the juror.

If you also have your art surrounded by gaudy or inappropriately colored mats, you’ve lowered your chances of an award even further. It’s best to be conservative. Use white or off-white mats.

Reason 2: If an art buyer likes your art and would consider purchasing it, he or she often wants to be able to take it home and immediately hang it on their wall. If she feels she needs to spend more money to re-frame your art more appropriately, she is likely to decide it isn’t worth the wait, the cost, or the hassle.

Art Tip # 5

My advice is to frame your work as well as your budget will allow. If your work doesn’t sell, you can always reuse the frame for other art in other shows…but take into consideration Tip # 6.

Art Tip # 6

Ask yourself: How experienced are the people hanging the show?

Let me explain. At one time I used to enter some of the smaller local art shows. The problem that changed my mind about this was I had so many frames scratched and ruined because they were badly handled. I use nice frames for my art – not the really high-end ones, but not the cheap ones either. In the smaller shows, what happened at times was the art was stored with the back of one piece of art leaning against the front of another. When that is done the screws on the back of one frame can easily scratch the frame or artwork behind it.

Small art shows and small organizations may have volunteers who have little or no experience handling art. In these small shows especially, you have to make a judgment call as to how expensively to frame your work.

I am much more trusting if the show venue is a professional gallery, since they have experience handling and hanging art.

Glass for Your Frame

If you create art that needs to be framed under glass, you’ve got another decision to make. Do you use regular glass or the more expensive, non-reflective glass?

Art Tip # 7

Use the best glass you can afford.

As expensive as it is, let me explain why I’m a strong proponent of non-reflective glass. Some years ago I was accepted into an art competition at a gallery. Normally, galleries have track lighting that can be positioned to reduce reflections.

Unfortunately, my art (under regular glass) was hung on a wall facing the front windows. When the sun was shining on the street outside, the scene outside was all you could see reflected in my glass. This is a very effective way to guarantee you get neither a sale nor an award.

But, being a slow learner, I continued using regular glass until a weekend a few years later. I had registered to display my art in an art fair. Now in an art fair, the artist pays for space to set up his canopy or tent to show and hopefully sell his work.

Tents for this use are almost always white, as was mine. The white walls of my rented tent set up a reflective situation that the lights I was using could not overcome.

Standing in front of some of the art was almost like standing in front of a mirror. Again, the only way to actually see the art was to stand off to the side. I had one sale that weekend.

I may be a slow learner, but eventually the lesson does sink in. Since that disastrous weekend I have used nothing but non-reflective glass. It is almost as expensive as gold, but it works very well and eliminates a very important headache.

Shipping your art

You might decide at some point to enter an art contest in another area, where you will need to ship your art.

Art Tip # 8

Total all your costs before you enter a competition, because the costs add up quickly.

First, you need to buy a sturdy box to ship your painting. Air Float Systems (www.airfloatsys.com) carry boxes made especially for shipping art. The boxes are very sturdy, but they are not cheap. Or, you can build something similar to the Air Float boxes by purchasing a mirror box (available at U Haul and other packing stores) and some foam.

Second, the art group organizing the show will designate a local shipping agent to receive your entry. The agent will unpack your art, deliver it to the show venue, pick it up after the show, repack it in your box and ship it back to you. The fee for this may be several hundred dollars in addition to the expense of your box and your original shipping costs.

Art Tip # 9

Never enter more pieces of art than you are prepared to deliver.

If you call the art show organizer and try to weasel out of shipping one or more of your pieces that got accepted, you are not going to get a sympathetic ear. Or, if you just don’t deliver all of the art that was accepted, you could, depending on the rules of that art competition, be banned from entering for several years.

So remember: Do your planning well ahead and follow these tips you are much more likely to have a rewarding experience when entering art competitions.

By Gary Gumble
Article Source: Entering Art Competitions – Nine Tips to Making Your Experience Rewarding

Gary Gumble has been using his creativity in one form of art or another for over 40 years. He graduated from the Minneapolis College of Art and Design with a BFA. Thereafter, he was a commercial illustrator for 18 years before returning to his early schooling in fine art.

Since then his artwork has won numerous awards of all sizes.

Now he has created http://beginningartist.com in order to use his forty years of art experience to teach aspiring artists the lessons that are seldom taught by most art instructors. His site is for people who love creating art, but now want to create it better.

To see examples of his work, go to http://www.beginningartist.com/fine-art-online-gallery.html.

From 1957 to 1960 Rosenquist worked as a billboard painter. It turned out to be an ideal foundation for the budding artist and he skillfully applied the sign-painting techniques to many paintings created during the period. This was a time in his life when he befriended many other artists of the Pop Art movement including Andy Warhol, Roy Lichtenstein, Mark Rothko, and Jackson Pollack.

In 1965 Rosenquist achieved international approval for his room-scale painting on canvas “F-111″ at his first solo exhibition at the Leo Castelli Gallery, New York. Following this exhibition Rosenquist’s long lasting career as a pop art artist developed further with critical acclaim for many subsequent paintings including “The President Elect”, “The Untitled”, “Growth Plan” , “Speed of Light”, “Marilyn Monroe” and many more. Besides painting, he has also developed a very large collection of prints, collages and drawings. One of his most renowned prints, “Time Dust”, created in 1992, was at that time the largest print in the world, measuring 7 x 35 feet.

As an artist he specializes in using fragmented and strangely uneven images for creating disoriented, poetic and often mystifying paintings. Many of his paintings show disproportionate and fragmented images on the painted canvas with even the most recognizable objects take on an abstract appearance. His paintings often share appositions of metaphors from advertisements and magazines, political and autobiographical mediums. Rosenquist now also creates paintings on the themes of anti-violence, death, time and cosmic references.

Rosenquist has received several honors and awards for his extraordinary skill. In 1963 he was selected by the art magazine, Art in America, as “Young Talent Painter USA” in recognition of his mural painting on a building at the New York World’s Fair. In 1978 he was appointed member of the Board of the National Council of Arts for a term of six years. In 1988, he received the Golden Plate Award from the American Academy of Achievement. He was also given the annual International Award for Art by the Fundación Cristóbal Gabarrón in 2002 in appreciation of his valuable contributions to universal culture.

By George Baxter
Article Source: James Rosenquist – The Famous American Pop Art Artist

The author of this article is a keen semiprofessional artist who writes articles about art for Artists Blank Canvas; a UK based website which sells pre-primed stretched Canvases. Many of his interesting Articles About Artists can also be found on the site.

Earl Christy, (1883-1961)

We’ll begin with the prolific Earl Christy, who’s porcelain-doll-like illustrations appeared on everything from Hollywood magazine covers and commercial advertisements to sheet music and postcards. His work can be found going back as early as 1906. His movie posters and covers he painted for “Photoplay” and other Hollywood magazines are now valuable collector items.

Earl Moran (1893-1984)

Earl Moran’s artistic genius appeared on everything from Sears and Roebuck catalogs to Life magazine and millions of Brown and Bigelow Calendars. How he’s remembered most is through his pin ups. Moran’s stunningly rendered pastel “visions” offer more situational variety than any other major illustrator. Of his most enduring legacies are his 1940s paintings of a breathtaking
young model named Norma Jean Baker. He painted more images of her than any other artist.

Rolf Armstrong (1889-1960)

Rolf Armstrong was another famous Brown and Bigelow calendar artist. After arriving home from a trip to France in 1919, he opened a studio in Greenwich Village where he painted the Ziegfeld Folly girls. Later, while in Hollywood, all the great stars of the era posed for him. Popular actresses like Mary Pickford, Greta Garbo, Marlene Dietrich and Katherine Hepburn were all painted by him. He even talked Boris Karloff into posing for him on the set of the original “Frankenstein”.

He refused to work from photographs and was always on the quest for the perfect model. When asked why he preferred a live model over a photograph, he said, “I want the living person in front of me. As I look at her again and again and again while I work, I get a thousand fresh, vivid impressions… all the glow, exuberance, and spontaneous joy that leaps from a young and happy heart.”

Armstrong’s pastel pin ups of his idealized, scantily clad,”girl next door” have a distinctive, luminous and shimmering quality to them. His paintings of healthy, nubile young women are some of the most memorable of all the famous illustrators. He was truly a man of rarefied talent.

George Petty (1894-1975)

The Pin Up finally exploded into the popular culture with Esquire Magazine’s introduction of s”Petty Girl” in 1933. Slender, flirtatious and extremely shapely, the Petty Girl became an American institution, capturing our hearts and minds for more than twenty years. From 1933 to 1956, her images were seen in tens of millions of places; every where from magazines and billboards to playing cards and match books, even aircraft “nose art” in WWII. In 1950, she was made into a movie starring Robert Cummings and Elsa Lanchester.

Gil Elvgren (1914-1980)

No pin up gallery is complete without displaying the breathtaking talent of Gil Elvgren. His enchanting, dreamy renderings of the nubile female form cannot be eclipsed in genius by any other artist. He was sublimely talented! A student of the Minneapolis Art Institute, he liked to paint girls who were new to the modeling business. He believed the ideal pin up was a girl with
a fifteen year old face on a twenty year old body, so he combined the two. During the forty two years spanning 1930-1972, he produced over five hundred paintings of beautiful young women, nearly all painted on oil and canvas. Today, his fully developed, finished works of art are second only in value to the paintings of Alberto Vargas.

Alberto Vargas (1896-1982)

The most prolific and famous glamor illustrator of all time is Alberto Vargas. The son of Max Vargas, a famous and talented photographer in his own right, Alberto learned to airbrush from his father before he was a teen. Most don’t realize he was actually born in Peru, and didn’t come to the US until 1916. He arrived on Ellis Island via Europe, where he had been since 1911. While
there, he had studied in both Geneva and Zurich, and by the time had made his way here, he was already a gifted talent coming into bloom. Within three years he had hung his own shingle and was painting store fronts and window displays for New York City merchants.

One warm afternoon in May 1916, while painting a window display for a downtown merchant, he was approached by a employee of the Ziegfeld Follies and asked to show his work to the great Ziegfeld himself. Within forty eight hours, he was commissioned to paint 12 portraits of the leading stars of the 1919 season of the Ziegfeld Follies. They were for the lobby of the New Amsterdam Theatre.

From that first commission on, Alberto Vargas was an artist in high demand.

He painted every major star of the Ziegfeld Follies and later major Hollywood stars like Betty Grable, Jane Russell, Ann Sheridan, Ava Gardner Linda Darnell, Marlene Dietrich, Loretta Young, and even Marilyn Monroe all posed for him.

In 1940 he replaced the great George Petty at Esquire magazine and by 1945 was the most famous glamor illustrator in the world.

Baby boomers all know him as the creator of Playboy Magazine’s Vargas Girl. He painted over 150 of his Vargas Girl masterpieces for Playboy.

He was married over forty years to the love of his life, Anna Mae Clift. When she passed away in 1974, he lost most of his creative drive and worked just a few more times doing The Cars “Candy O” album cover and two album covers for Bernadette Peters. He passed away in Los Angeles in December, 1982.

Now, the reason this article was written…to talk about the most shapely, wondrously round, perfectly proportioned, plus size, pear shaped beauty in Pin Up girl history: Duane Bryers’ “Hilda”

One night, while prowling “Google Images” for curvaceous content, I found myself at Les Toil’s Big Beautiful Pin Up Gallery. I clicked through and followed his fun and curiously titled links looking for the well-nourished, feminine imagery I had started out that night looking for.

After I got done admiring Les’ talent, I went back to his homepage and clicked on a cheerful teal and yellow banner with the name “Hilda” written across it. I clicked on it, not prepared at all for what I was about to see.

As soon as the page opened, I stopped and looked in wonder. It was one of those moments when you’re seeing something with which you’re completely taken; the world around you seems to disappear, and everything goes completely silent as your focus narrows, taking in what’s in front of you.

Discovering Hilda was like discovering lost treasure. I recognized her right away. I remembered her as a perfect likeness of what I had for years idealized in the feminine form; round, soft, pear-shaped, plump, and shapely to the extreme.

If one’s natural male instinct is to respond to the rounder, softer, more generously proportioned woman, you will understand why there is so much to like about her. From her long, soft legs, girlish face, plump, inviting arms, to her hips, round and wide, you see a vision of femininity forming in front of you. Add to all that her ample, well-developed breasts, soft, yielding tummy and glorious hip-waist ratio, and you discover she is an ideal example of full-figure perfection. The perfect plus size, pear-shaped,
nubile beauty.

Unlike the stick-thin, female icons so popular today, Hilda has not one angular feature. She sublimely embodies the old fashioned womanly ideals of “round and soft”. She is feminine to the nth degree.

Duane Bryers was the first illustrator to use plus size models as subjects in his pin up art. Sometimes he didn’t use a model at all and painted from memory or fantasy. A feat, according to pin up artist Les Toil, “most impressive!”

By Howard Bott
Article Source: Duane Bryer’s Hilda – First Illustrated Plus Size Pin Up Girl

To view this article in it’s proper and original context, it’s accompanying pictures are a necessary ingredient. Please visit http://top-plus-size-beauties.com/plus-size-models-pin-up-girl.html

This article was made possible through research from various sources on the web including Google images, The Pin Up Files, and the Hilda page of Les Toil’s Big Beautiful Pin Up Gallery.

The term ‘Art Deco’ was coined in an exhibition, ‘Exposition Internationale des Arts Decoratifs et Industriels Modernes,’ held in Paris, in the year 1925. The exhibition was organized by some French artists to promote the creation of a new genre of art, adapted to the contemporary lifestyle, a distinct sense of individuality, and fine workmanship. The organizers of this exhibition were the members of the society, ‘La Societe des artistes decorateurs,’ including, Hector Guinmard, Eugene Grasset, Raoul Lachenal, Paul Follot, Maurice Dufrene, and Emily Decour. The term ‘Art Deco’ however, gained widespread recognition only in the year 1968, when art historian Bevis Hiller, came out with his popular book, ‘Art Deco of the 20s and 30s,’ and organized an exhibition, ‘Art Deco,’ at the Minneapolis Institute of Arts.

This movement was distinguished for its abstraction, manipulation, and simplification of defined geometric shapes, and a vivid use of colors. The bold color schemes and blending curves were the focal points of the true ‘Deco’ creations. The so-called ‘ancient arts’ of Africa, Ancient Egypt, and Aztec Mexico, prominently inspired this movement. In the age of machines and streamline technology, the use of materials, such as plastics, enamels, harden concrete, and an unusual type of glass, ‘vita-glass,’ greatly affected the movement. There is sufficient evidence to indicate the employment of materials, like aluminum, stainless steel, lacquer, inlaid wood, along with exotic materials, like zebra and sharkskin.

The Empire State Building, famous for its pyramid-like structure, and the Chrysler Building, known for its multi-arched dome, are the living examples of the ‘Deco’ style. The movement even outlined the fashion industry of Paris in the 1920s. The dresses sported large chromium buttons, head-hugging cloche hats worn with huge fur collars, dangling earrings, and so called ‘bobbed hairstyles,’ all amounting to completely new and revolutionary look. The BBC Building in Portland Place and the basement of the Strand Palace Hotel, London are the examples of the pure ‘Art Deco’ style. The popularity of this movement took a beating during late 30s and 40s, but regained its lost sheen with the surge in the following of ‘graphic designing’ in the 1980s.

By Annette Labedzki
Article Source: Art Deco Movement – The Foundation Stone of Modern Art

Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of Labedzki.com. An online art gallery featuring her original art.

It is a great site for art collectors to buy original art. Please visit the website at http://www.labedzki.com

• Contemporary artistic developments
• Performing arts
• Film
• Education programs

The Walker Art Center is recognized internationally as a singular model of a multidisciplinary arts organization and a national leader for its innovative approaches to audience engagement.

The Minneapolis Sculpture Garden is one of the nation’s largest urban sculpture parks and sits adjacent to the Walker Art Center. The Garden’s most popular work is Claes Oldenburg and Coosje van Bruggen’s Spoonbridge and Cherry (1985-1988). It has become a symbol of the Twin Cities. The Minneapolis Sculpture Garden created an extraordinary force for bringing new visitors inside the Walker as well as to create new audiences for contemporary art.

Special Occasions at the Walker Art Center

The indoor and outdoor facilities at the Walker Art Center offer a unique atmosphere for artful dinners, refined receptions, weddings, meetings and other events. The new building is designed by Swiss architectural firm Herzog & de Meuron. It features flexible spaces for almost any size gathering. Special features include a shimmering façade and skyline views. There is convenient underground parking. You can expect nothing less than perfection from start to finish of your unique occasion. With almost limitless menu options and their exclusive caterer, internationally acclaimed chef Wolfgang Puck, your dining experience will be as unique as your occasion.

Gallery Admission Prices

• $10 for adults, $8 for seniors (65+), $6 student/teen (with ID)
• Free to Walker members and children less than 12 years of age
• Free with a ticket to a same-day Walker event
• Free to all every Thursday evening (5-9) p.m.) For Target Free Thursday Nights and the first Saturday of each month for Free First Saturday

Event Ticket Prices

You can purchase in advance tickets to all the Walker events (subject to availability). They will add a $3 processing fee to phone, mail and online orders.

Minneapolis Sculpture Garden Admission Prices

Admission to the Sculpture Garden is free and is open daily 6:00 a.m. to midnight. The Cowles Conservatory is a free admission and open Tuesday through Saturday, 10:00 a.m. to 8:00 p.m., Sunday 10:00 a.m. to 5:00 p.m., and is closed on Monday.

Where to Eat

For modern dining and contemporary taste featuring Asian-influenced California cuisine, consider the 20.21 Restaurant & Bar by Wolfgang Puck. For reservations call 612-253-3410. Walker Art Center members can save 10% on 20.21 dining. This restaurant is open Tuesday through Thursday, 11:30 a.m. to 2:00 p.m., 5:30 to 10:00 p.m., Friday through Saturday, 11:30 a.m. to 2:00 p.m., 5:30 to 11:00 p.m., and a Sunday brunch from 10:00 a.m. to 2:00 p.m.

The Gallery 8 Café brings fresh ingredients to a casual setting featuring many delicious and seasonal selections of soups, salads and sandwiches. The Café is open Tuesday through Sunday 11:00 a.m. to 2:00 p.m.

Coffee Cart: Enjoy assorted beverages and signature snacks in the Bazinet Garden Lobby served by Wolfgang Puck.

Gallery Group Tours

There are disability accommodations available for visitors with physical or developmental disabilities and for people with visual or hearing impairment. You can call 612-375-7609 at least four weeks in advance for more information.

Hearing augmentation devices are available for events in the Cinema, Lecture Room, and the William and Nadine McGuire Theater. If you need a pair of headsets, these can be borrowed form the lobby desks free of charge.

Signed Interpretation

Signed interpretation is available for any Walker event. You will need to call the box office in advance. Telephone numbers are: 1-612-332-6000 and reservation line is 1-866-866-8086.

Where to stay:

The Millennium Hotel Minneapolis is within walking distance of the Walker Art Center. The hotel also offers easy access to commercial districts, dining, nightlife and other cultural activities.

By Connie Limon
Article Source: Vacation Ideas – The Walker Art Center in Minneapolis, Minnesota, USA

Source: Walker Art Center Online

Important Disclaimer: The URL address in the resource box of this article is not associated with any of the attractions mentioned in this article. This article and the web site are offered as a resource for formulating vacation ideas.

© 2007 Connie Limon All Rights Reserved

Written by: Connie Limon. For more vacation ideas visit http://smalldogs2.com/VacationIdeas For a variety of FREE reprint articles and special topic articles rarely found elsewhere visit Camelot Articles at http://www.camelotarticles.com

Georgia O’Keeffe described her painting as a product of what she perceived in her mind and felt in her heart. In “Oriental Poppies,” she depicts two giant poppy flowers. Measuring 30″ x 40″, this oil painting is an explosion of brilliant colors on a vast canvas, lending a mesmerizing effect. O’Keefe used dazzling red and orange as the main color of the petals. The hollowed centre and the inner contours of the flowers are painted in deep purple. The skillful shading and velvety finish of the petals accentuates the vibrancy of the flowers. “Oriental Poppies” almost looks like a close up photograph. O’Keeffe did not give any background to the painting, to artfully draw focus onto the flowers. The absence of context in the painting presents them in a new light as pure abstracts. “Oriental Poppies” exudes a startling pull, as if casting a hypnotic spell on the viewer.

Georgia O’Keeffe believed that due to the fast-paced lives people live, they merely glance at flowers, but never really observed their exquisiteness. She wished to give such rushing people experience and the feel of the true beauty of flowers. In her words, “If I could paint the flower exactly as I see it no one would see what I see because I would paint it small like the flower is small. So I said to myself – I’ll paint what I see – what the flower is to me but I’ll paint it big and they will be surprised into taking time to look at it – I will make even busy New Yorkers take time to see what I see of flowers.” O’Keeffe chose to paint on a huge canvas with an outburst of bold colors, to astonish the viewers and to introduce them to the wonder of nature. In her bid, she managed to capture the essence of poppies with eloquence.

Many art researchers believed that O’Keeffe’s “Oriental Poppies” was an answer to the zoomed in technique adapted by Alfred Stieglitz in ‘Modern Photography.’ The magnificent painting speaks volumes of O’Keefe’s talent and artistic vision. Georgia’s delightful representation of two ordinary flowers generated widespread admiration and was considered as one of her most memorable works. It is now a part of a collection at the University of Minnesota Art Museum, Minneapolis.

By Annette Labedzki
Article Source: Her Most Famous Painting (Oriental Poppies) – Georgia O’Keeffe

Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.Labedzki-Art.com

Annette has bonus offers on her work only. Buy 3 small paintings of any size (maximum size 11×17 inches) and receive 3 small paintings of your choice for free (maximum size 11×17 inches) SHIPPING IS FREE

Buy one large painting (minimum size 18×24 inches) receive 5 small paintings of your choice (maximum size 11×17 inches) FOR FREE. SHIPPING IS FREE.

Please feel free to subscribe to her newsletter at http://www.Labedzki-Art.com