Whistler destroyed masterpieces!

James McNeil Whistler destroyed what would have been masterpieces in order to stop collectors from benefiting from his inability to pay his bills.

As a lover of fine art I gasped when I read this until my wife reminded me as an artist I have committed the same atrocities.

She has spirited work out of the studio and I have found it in friends home to save the work from her perceived soon to be death. I am appalled yet secretly glad. It is with no great pleasure my anger gets to a point where I would destroy a work rather than live knowing someone got it for cheap or nothing.

I have spent many years selling low to gain the recognition to command a reasonable price and as artists all understand there are fat times and lean times. It is the lean times that drive me insane. I also care less about my reputation now and I am painting better than ever because of it.

As far back as I have been able to decipher artists have never been paid well for their work ( exceptions to the rule stop smiling) and in fact it is the very capricious nature of the commercial side of art that makes a true artist sick to his weary bones fighting for this acknowledgement.

What would cause someone who tortures themselves to create a work of art that is exceptional to all who look upon it – to then utterly destroy it because “If I can’t sell it then no one will get it!!”

True there are the paintings that survived that no one ever paid money for. The notable example is the Mona Lisa. Di Vinci never sold it keeping it with him until the day he died, but that wasn’t because he was destitute.

I recently finished a painting that was commissioned by one of my wealthy benefactors and everyone in the frame store from customer to employee ogled it and thanked me no end, leaving me wondering what the hell does anyone know about quality workmanship? I was working on the painting for a year and in those twelve months I was so close to cutting it up, painting over it, the fact that I hated it was what drove me there but the fact that I needed the money was what kept me working.

Now I am not going to say this is a masterpiece, I often paint things that are pedestrian because that is what I have been asked to do. Oh the shame of it all. But sometimes and mostly with my own work for myself for a show or a gallery I will beat the shit out of it and punish it for not being exquisite.

Hey I was told by a decorative painter that it is only paint nothing to be afraid of, HA! It isn’t only paint with a fine art piece IT IS MY HEART AND SOUL – you can’t explain it when your dead either! SOOOOOOOOOO. . . . .
Laissez les bon temps roulez!


I am Backkkk!!


I am a grandfather and her name is Taliah Elizabeth Potter. She was born of my step son Malcolm and his fiance Alecia as an 8 1/2 lb. bundle of joy. I am waiting for the joy but I had a daughter ( still do) but the baby part I recall as if it was yesterday and for a granddad I am waiting for the pig tails and the wonder all children have at 3 and up. I will dress her in matching kilts and we will have adventures fishing and camping. I wasn’t in town however but thanks to my wonderful wife I was kept informed with tons of pics and emails.


ImageImageImage This is the beginning of her nursery – it is finished now and I will post pics later. And so the circle of life goes round and round and round and round. My daughter is 27 and I remember the days when she was growing up and how fun she was so energetic and beautiful and a mystery. As Malcolm will come to know. My wife is Gob Smacked and is so happy with this baby addition.

NOW on to the business side of life. LIFE IS WHATEVER YOU MAKE IT! I have become quite awed by the fact that if I am happy, life is great – if I am sad life sucks. If I get up and say today is going to be a great, happy day, then I can make it so.

We all have this ability. So now at my age and with all the experience I have had in so many areas of life I am glad to know this, but more importantly I wish I had the confidence of this understanding when I was 20. I spent many years reacting and now I act, even when I react. It is much more empowering.

I started my Real Estate career at 62, and in five and a half months I sold one house and was so very close to three other sales. Along the way I have learned a lot, met a lot of people and have had fun!

FUN is the key to staying happy, not so obvious as it sounds. Fun is an interpretation of life events – glass half full – and it is very hard to accomplish, especially when as a young man and I was adding more responsibilities on top of responsibilities. Pressured to succeed and trying to wear too many hats. Now I approach challenges in a patient way.

I am working more than I can remember – mostly on developing a real estate business, while still working on paid commissioned paintings. I just got an assignment to create a video for property in San Clemente, California and I had my polo painting ( the acrylic study) approved for the next stage as an oil painting.

Image I finished an oil of a national champion French Bulldog who took Best of Breed at the most recent Westminster Dog Show in NYC.

ImageThe polo horse, “Chocolate” in my polo painting was named Best Playing Pony in the World of the year 2013 and is a beautiful animal in full stride on a playing field in Argentina being ridden by the second best polo player on the International circuit Adolpho Cambiaso.Image I am also painting doors and cabinets in the kitchen of our home with the images from an Italian painter Malinia an old friend of Claudia’s parents.

What the hell is a QM?

Whether you’re refinancing your home loan or planning to buy a home in 2014, you’ll be among the first consumers to apply for a mortgage under new rules established by the Consumer Financial Protection Bureau.

Known as “Qualified Mortgages” or QM regulations, these new rules are meant to protect consumers from unsustainable loans and to prohibit lenders from approving loans for unqualified borrowers. The rules, part of the aftermath of the housing and financial crisis, change the availability of some loan programs and limit the fees that lenders can charge to consumers.

QM Changes to Mortgage Lending

Several loan programs that the CFPB believes are dangerous to consumers are not eligible for QM status, including no-documentation loans, 40-year loans, interest-only loans, loans with a balloon payment, option loans in which borrowers could pay less than the full amount due, and loans with negative amortization in which the principal balance grows because the monthly payments are artificially low.

Borrowers won’t necessarily feel the absence of those loan programs since lenders stopped offering most of them years ago after the housing crisis. Also, over the past several years lenders have increased the level of documentation required of all borrowers to comply with other regulations and underwriting standards.

Borrowers will be impacted more by two other aspects of QM loans: Lender fees are limited to 3 percent and have a hard line for your debt-to-income ratio. The limit on lender fees applies to loans above $100,000 and will reduce the up-front costs of a mortgage.

Under QM rules, your debt-to-income ratio, which compares your gross monthly income to the minimum payments on all your debts, must be 43 percent or lower. Some borrowers may no longer qualify for the loan amount they applied for under these rules and will have to reduce the amount of the loan or pay off other debt.

Lenders can offer both QM and non-QM loans as long as they verify that borrowers can repay the mortgage, but the advantage of a QM loan is that it can be purchased or guaranteed by Fannie Mae and Freddie Mac. The lender then receives legal protection for QM loans against future lawsuits from disgruntled borrowers or investors.

The death of an ad guy, besides myself.

I was a Mad Man before Mad Men was a catch phrase. I rode the Merry Go Round for some of the biggest ad firms in the world at the time. I was young, my first job I was 17. Reading the blog of Linds’ I certainly knew what he was talking about – because I committed suicide years ago, professional suicide that is. As a young man in Manhattan I was fortunate to meet the right people who helped me gain access to the guilded halls of Madison Avenue Ad Agencies. I met, and worked with some of the legends, yet all the while I was categorically uninterested in the fervor of promotion, accolades and awards. NOT to say I didn’t want them just a little. I remember showing my television reel to my new wife and after 20 minutes of sitting on the couch watching them and smiling at me as if she was impressed I knew half way through we were still only watching television commercials!! I knew then I would never go back as I had lost my ad job some time before due to a catastrophic recession in ’92 in LA, I had since started painting murals. I have never looked back as my close friends were still slogging it out, One today is the head of Omnicom in LA and he was recently diagnose with stage 1 throat cancer. So read Linds Blog and please take away for his and my brief comments that to live your life for work that excludes your family and friends is the greatest sin!
Linds Redding, a New Zealand-based art director who worked at BBDO and Saatchi & Saatchi, died last month at aged 52 from an inoperable esophageal cancer.

Redding also kept a blog, and after his passing an essay he wrote about the ad business, titled “A Short Lesson In Perspective,” has gained a new and sudden life, on the SF Egotist and on Adfreak.

It will not make happy reading for the many people who knew Redding, know of his work, or anyone who works in the creative department of an ad agency.

In sum, Redding, wrote, life as a creative isn’t worth it. “It turns out I didn’t actually like my old life nearly as much as I thought I did,” he wrote, after he was diagnosed.

The screed addresses the existential problem at the center of anyone’s career in advertising: Can you marry art and commerce and be fulfilled as a human being?

Redding concludes the answer is no. His story could apply to anyone’s job, in any industry. It’s sobering stuff. Here’s an excerpt of the most brutal bits (you can read the full essay here.)

And here’s the thing.

It turns out I didn’t actually like my old life nearly as much as I thought I did. I know this now because I occasionally catch up with my old colleagues and work-mates. They fall over each other to enthusiastically show me the latest project they’re working on. Ask my opinion. Proudly show off their technical prowess (which is not inconsiderable.) I find myself glazing over but politely listen as they brag about who’s had the least sleep and the most takeaway food. “I haven’t seen my wife since January, I can’t feel my legs any more and I think I have scurvy but another three weeks and we’ll be done. It’s got to be done by then The client’s going on holiday. What do I think?”

What do I think?

I think you’re all f***ing mad. Deranged. So disengaged from reality it’s not even funny. It’s a f***ing TV commercial. Nobody gives a s***.

This has come as quite a shock I can tell you. I think, I’ve come to the conclusion that the whole thing was a bit of a con. A scam. An elaborate hoax.

Countless late nights and weekends, holidays, birthdays, school recitals and anniversary dinners were willingly sacrificed at the altar of some intangible but infinitely worthy higher cause. It would all be worth it in the long run…

This was the con. Convincing myself that there was nowhere I’d rather be was just a coping mechanism. I can see that now. It wasn’t really important. Or of any consequence at all really. How could it be. We were just shifting product. Our product, and the clients. Just meeting the quota. Feeding the beast as I called it on my more cynical days.

So was it worth it?

Well of course not. It turns out it was just advertising. There was no higher calling

Production and career.

I wanted to take a look retrospectively at the last year’s output of paintings to get an idea as to where I am going stylistically and content wise with at least the non – commissioned work which is about 75 percent of my output. This is still only about 75% of the work I have done in 2012. A few have snuck in from times before but this isn’t a science project. as usual comments are welcome as long as they are constructive. I am starting on a number of new paintings many for holiday presents but a few for my collection. I am working to be included in next years Masters of Western Art at the Gene Autry Museum in Los Angeles with a classic large multi people in conflict painting reminiscent of the old war paintings. I had a discussion with my father this morning, who is himself a creative man, former Principal Tenor at the Met, New York City Opera and now a voice teacher at Mannes and premier school for classical music studies, part of the New School. He has just finished his second book for Scarecrow press about the Bel Canto singers of the 19th century and specifically Rubini. We compare notes on what the impact on us psychologically, emotionally and mentally when we strive to create something in our field specifically. I just got back to my easel and have found a new energy having spent the last three months learning the skills for sculpting, a long interest of mine and one I feel out of my depth about. Good to have a mutual thinker a phone call away.


I was wondering how I would get the high action of men in conflict without the arduous task of hiring models. Then I thought sports and specifically soccer and Rugby. This feels right.

What is art?


What is art? In painting this 20″x36″ oil I had come from more conventional compositions and renderings. I liked what I was doing but I wasn’t receiving the wow that I wanted. I was asked to do a series of polo paintings for The Santa Barbara Polo & Racquet Club so initially I thought almost photographically. But in researching a lot of polo art on the Internet and a few times from art libraries in NYC I was unhappy with this initial approach because it lacked what a lot of the other work lacked, passion, energy and a personal stamp. I kept working all the while pushing myself, agonizing over which way to go. So as I often so I decided to try something new in the medium I was working in, oil and did a number of “Scratchboard” renderings. I then thought I would take what I had and show my client in Hollywood. He had some good things to say but I wasn’t getting that oh my God, these are great response EXCEPT from the Scratchboards. Thes were 8×10 yet his comment was he loved the energy they represented. I came back to the studio thinking that was what was missing energy! After all this is an energetic sport and most of the other traditional artwork I saw had this same deficiency.

SO I took a canvas painted Ochra raw umber gesso background and started to sketch in the figures (based on the other idea I had to use the energetic horses from another famous artist, Remington). As I worked my wife (when she likes a particular piece of work) tells me when to stop. And This time I felt it too. SO I did and now I have a style I believe expresses what I want to achieve. Is it a work of Art??

What is Art?

My comments…
1. Introductory Remarks By Dr. Padozy, Fine Art Sculptor.

I personally enjoy an intellectual discussion. I have them a lot on all different subjects. I have not studied the thoughts of others as Mr. Padozy obviously has so I am no one to critique his work. What I may be able to add is my own life’s struggle with this question and the many discussions I have had with notable artists and the extensive reading I have done.
I have spent years listening and thinking and making art and dealing with what qualifies as art and I have come to the conclusion that defining art or the attempt at defining what is art is likened to a recipe with all the ingredients listed and the proportions described. The final result is as the saying goes in the eating =(viewing).
Art can’t be, described, defined, or quantified, skill, application of materials and intent can add attribution but the final judgement is in the eyes of the beholder! There will never be a definitive formula regardless of the thinking of scholars. The other end of any cultural expression is the elite factor that sets price and definition. I think the ultimate thing that can be said about art is how it touches an individual and in that it is art or not. Matisse may do nothing for a villager in Rwanda. And an African mask has pull on a white banker in Rhode Island.

Defining art is as difficult and ultimately as useless as trying to hold water in your hand. To quote a judge in regards to pornography “I know it when I see it!” Still this is unsatisfactory because we want a number of things resolved in our lives and one of them is some form of justification to OUR OWN likes. Defining what we as individuals think art is legitimizes our individuality and our sense of ourselves as valuable in society. So What Is Art remains to be discussed and analyzed and judged for the rest of time itself, because there is NO answer. Cogito ergo sum to play with Descartes.

We might think about changing the term “ART” and start from there rather than try to define “ART” based on older models???