Image via Keith Barber
Keith Barber worked for many years in a 9 to 5 type of job, before turning to strictly painting. Off the Cuff spoke with him about the transition from the working life to a life in art. “I loved my job because for me, it seemed directly related to art,” he explained. Barber wrote for The Daily Reporter, a legal and construction trade newspaper, on “construction-related projects, with an emphasis on buildings,” he continued. “I was able to write about architecture, landscaping and how these potential buildings could and would fit in with their surrounding environments.” Barber majored in art and English at UW-Oshkosh. “It was always a great joy to review blueprints or to speak with an architect or builder about his or her project,” he added. “Somehow, this satisfied my artistic cravings without actually holding a paint brush. But, in my free time, I found myself sketching or being involved with other artistic endeavors.
When did you begin your painting career?
Well, as stated before, I had always been interested in art, and besides high school and college, I believe I started painting during my time in New England. In the late ‘70s, I spent two years on Cape Cod, painting streetscapes, harbors, sand dunes and water. I sold most of my work to tourists, the same day I created them—right off the easel. I worked primarily with acrylic paints early on because they dried rapidly. That being said, it was a challenge in plein air painting applications. After returning to Wisconsin, I took a rest, and concentrated on gardening, drawing, and furthering my career. It wasn’t until 1999 that I returned to painting after a dear friend asked me to do an oil painting for her. I quickly picked up where I left off. It was like meeting up with a long-lost friend. I suddenly realized painting was the missing link in my life. I wasn’t too familiar with oil paints, so this was a new challenge for me. I took workshops and courses in oil painting at MATC and at MIAD, setting the stage for the next 20 years, and into retirement.
Stay on top of the news of the day
Subscribe to our free, daily e-newsletter to get Milwaukee's latest local news, restaurants, music, arts and entertainment and events delivered right to your inbox every weekday, plus a bonus Week in Review email on Saturdays.
You have painted from your travels, as well as more local subject matter. Where have you traveled/painted from?
I’ve grown to love the Driftless area of Wisconsin, traveling there as often as I am able. I generally set up my easel along a roadside or bluff along the Mississippi River, as well as photographing the area for future off-site painting back in my studio. I cover the area along the river from Trempealeau to Dubuque, taking the opportunity to explore each state park along the way. Along with my New England experience, I’ve also worked from my home in Jefferson County. I lived on a farm for 24 years before moving back to Milwaukee five years ago. I enjoyed the countryside and farm scenes, which made me further fall in love with landscapes and landscape painting. Over recent years, I’ve discovered that I’m more content with horizontal images rather than vertical. My love of the city and buildings has not lessened, but I feel more relaxed with open air, vistas and horizons. I’ve traveled most of the U.S., parts of Mexico, the Caribbean and Berlin Germany, but have yet to paint these wonderful experiences from photographs I’ve taken.
Image via Keith Barber
What is your process in beginning a painting?
First, I have to like the situation or subject matter before anything else. I’m prone to painting landscapes, but also enjoy abandoned houses, old cars and farm equipment. I’m terrible at painting people, although I’ve been told that it’s just painting shapes. I then look at what size canvas is well suited for the subject matter, but any shape or size is OK. I always use a canvas that is lightly primed with a color to eliminate white spots during painting. I usually use an orange wash because I like the way it sometimes shines through the small open areas of the canvas. I then pencil in everything I want to display onto the canvas before painting, constantly moving lines back and forth until I get the right images.
Usually, the sky is the first thing I paint, working my way down to the ground, and infill the sides of the subject matter. My main focus, whether it be a barn, boat, animal or whatever, always is the last thing I paint after lightly paint-washing a color onto the subject. After the canvas is lightly painted or stained, I’ll start on detail, which may include shadowing and more perspective. If painting outdoors, I may have to return to the scene at the same time the next day to capture where that moving light had been. Because the sun moves rapidly, you have about a two-hour window to finish your painting, or at least get the important features down before you can continue to finish.
You have been successful in selling your work. How does that make you feel?
Great! It’s such a good feeling to actually meet the people buying my work, and to listen to comments and reasons for purchasing. It’s very satisfying to realize someone actually likes the painting and asks questions about what inspired me to paint it. It’s a comfort to see that you’ve created something, and that it has some worth to someone. It’s equally nice to have some of your artwork moved out of the studio, clearing the way for new work. Great knowing that my stuff is not sitting in a tote or in storage, and instead being hung on a wall making a difference to someone.
1 of 6
Image via Keith Barber
2 of 6
Image via Keith Barber
3 of 6
Image via Keith Barber
4 of 6
Image via Keith Barber
5 of 6
Image via Keith Barber
6 of 6
Image via Keith Barber
What can you tell a novice or amateur painter about selling and being successful?
|
|
I recently had an exhibit at Inspiration Studios in West Allis, which was my first public show. The turnout was pretty good, even though the pandemic was in full force. It felt good to sell some of the one-hundred paintings I had posted there. I think the secret was to not over-price artwork. Affordable art is necessary and rare, and the idea of allowing someone to buy and enjoy your piece outweighs the money you sold it for. I would suggest that an artist continue to research art in magazines, books, newspapers and galleries, and try to get involved in workshops and classes offered through private artists or schools. Selling can be done by participating in exhibit opportunities. Stay in touch with local artists to become aware of such opportunities, and to just share the fellowship found in the art community.
