PROLOGUE

Are you one of millions of people who once had the desire to create?

Did you once dream of artistic success?

Have you ever wanted to act, write, draw, paint, sculpt, dance or sing?

Did you play a musical instrument as a child and then give it up?

What happened?

Perhaps, like countless others, you thought you lacked the natural talent needed to succeed as an artist.

It’s never too late, the creative urge never dies, and you can still have a personal renaissance.

The research, ideas and information summarized [in my book], The Talent Myth, were gathered over half a century of hard-won experience as an artist and teacher. After having achieved some renown as a painter, I became challenged by the idea of teaching others what I knew. My purpose was simple and clear: to teach the traditional basic skills of drawing and painting in a way whereby anyone, with or without natural talent, could learn to draw and paint beautifully. What began as a personal challenge has become the world’s largest fine-art training program.

I and instructors trained in my methods have helped thousands begin glorious new adventures. Some students had natural abilities, but most began with little more than the desire to learn and again taste the fruits of creativity. Most were afraid and skeptical of their chances before they began, yet with step-by-step, one-on-one instruction, they have succeeded.

Only a handful of the general public knows the joy and riches artistic creation can bring, the enhancement in mental and physical well-being, the transcendent moments in a life sustained by the arts. I have seen lives revitalized when creative goals were rekindled and a missing piece to life’s puzzle fell into place.

The creative impulse, even if barred, keeps trying to break free. It doesn’t die or go away. It has enormous power. No matter how ignored or denied or betrayed, it makes its presence felt throughout a lifetime.

The Talent Myth exposes the major obstacle to artistic success—one that has caused millions to give up their artistic pursuits—and unmasks our wasteful system of educating artists, a system that actually prevents the development of talent. I then discuss the true nature of talent, the fundamentals that appear to hold true for creating all fine art, and the standards and methods I believe necessary to successfully teach and learn an art form. The Talent Myth is a guide to help anyone get started as an artist or revitalize his goals in the arts.

Although the book focuses on painting, much of the material applies to the other arts as well. Many of my students who have careers as writers, actors, musicians, and dancers have taken the principles they learned about drawing and painting and used them to lift their professions to new levels of expression and success.

I believe that knowing how to create art is vital to the care and feeding of the human spirit. Learned and used, it will dramatically improve almost anyone’s life.

The waters of the arts have been muddied for too long. Perhaps this book, this tiny stone hurled into the forbidding center of the old, stagnant seas, will spread rings of truth that will dispel enough of the murk to make the waters inviting for all.

Our Favorite Lie

Why do most of us completely drop our precious artistic dreams and leave creativity behind the gates of childhood? Is it necessary? Does it make any sense?

Ask these questions and first you’ll get pat social answers: “I don’t have the time. I’ll get to it again someday,” or “It’s too late for me.”

Persist and ask again. The veneer soon drops away and the truth comes out.
“I don’t have the talent.”

It’s never that people don’t want to create art. Most don’t believe they can.
Most of us think that in order to pursue the arts and be creative, we first need natural talent. We’ve been sold a bill of goods—the Talent Myth.

If you don’t believe me, it’s understandable. Most likely you’ve never thought it possible to acquire talent. The talent myth promotes the lie that unless one has a large endowment of natural talent, one has no real chance to develop artistically.

Look up the word talent in a dictionary and you will find that even our language perpetuates the myth about it being naturally endowed. Yet talent really just describes the ability to perform in a certain field. Ability depends on skills and any skill can be learned. The Latin and Greek roots for the word talent originally meant “a unit of weight and/or money”—something valuable, yes, but certainly not innate. Over time, the meaning of the word altered and diminished, leaving the impression that only those born with enormous gifts can succeed.

It isn’t true.

An unfortunate by-product of the myth is the notion that no real knowledge exists in the arts. You simply and magically have talent or you don’t. No basic knowledge exists, only individual accomplishment.

Yet if he stops to think about it, an intelligent person will realize that any activity can be broken down into fundamental steps and learned—even art.

You don’t have to be born with talent, you can acquire it.

At the first display of creativity, family and friends heap admiration and encouragement on the child. But unless some vast gift is evident, our oohs and ahs dwindle as the novelty fades. The once enthusiastic response to a drawing becomes, “That’s very nice dear, but don’t bother Daddy now, he’s watching TV.”

The unexpected and hurtful drop in interest and attention breeds self-doubt. And doubts have a way of multiplying. It’s ironic and sad that as parents we help a myth dim the creative lights in our children—just as our lights were dimmed by our parents, who suffered the same treatment from their parents.

The situation worsens. Self-doubt intensifies in a school system with the modus operandi of pitting children against one another. The gifted child gets praise and an A, the others a cursory B, C, or worse. “I don’t know if I can” becomes “I can’t.” The lights go out on the urge to create.

Miraculously, some creative youngsters do make it unscathed to adolescence. But then, more often than not, the awakening of the sexual urge smothers the artistic. Peer pressure shorts out more lights. The few that remain have to somehow survive well-meaning family and friends chanting their chorus: “You can’t make a living in the arts. Get a real job. Be a lawyer, something respectable that’ll earn good money.”

Only the few kids with talents as rare as diamonds make it through all the negation. The myth wins again.

And the rest of us? We face the facts. We must find our place and fit in. We try believing that everything needed to make us happy can be paid for with cash or credit cards. We wise up, toughen up and start to compete. We fight for prescribed goals. We become our jobs, our money, our possessions, our problems, and cover our precious individuality with a cookie-cutter social facade.

Sometimes we win life’s battles and gain some relief and gratification, but it never lasts; the success is never all that we hoped for. Something is always missing. We move on to all manner of things to relieve the stress of playing the same tired old unfulfilling game. Still, through it all, many of us pretend everything is just fine.

But there are unsettling times when we see the bright light in the eyes of a child and a message sneaks through our carefully constructed barriers. We wonder, what happened? Not even realizing why, we can feel just a little homesick and wish we were back again in our magical, creative childhood world, filled with the promise of dreams to come.

The Bible says, “The Lord giveth and the Lord taketh away.” But it wasn’t the Lord that tooketh away our creativity. It was our belief in a myth.

Ernest immediately knew that he had to have the painting for his own. He approached a young woman standing nearby the exhibit and inquired about the painting of the young boy. The woman, who turned out to be the artist’s wife Sheila, explained to Ernest that the particular painting was “not for sale”. There were of course many other paintings by the artist that Ernest could purchase, but none would suffice. Ernest had to have the painting that captivated his attention, the un-signed, and un-titled painting of the island boy. He insisted, but Sheila would not change her mind.

Ernest and Hilda then sought out the artist himself to plead with him directly, to maybe, hopefully persuade him to reconsider the sale of the painting. Larry finally agreed and the beaming couple returned to their Connecticut home with the painting.

Through the years that followed, the painting became the centerpiece in their home, displayed prominently over the mantle. They related the story of how they had acquired the painting, over and over again, to friends and family alike, a story which made the painting even more treasured. While the Low’s held the same love for the painting as the day they bought it, their only regret was that it was never signed, nor did they know the title.

The once inseparable couple are no longer together – separated by the one and only thing that could tear them apart. They honored their vow of marriage until Hilda passed in 1999. At 87, Ernest is in ailing health. He lives alone in an assisted living apartment – without Hilda by his side. When his son Steve asked Ernest what could be brought from his home that might make him more comfortable, Ernest’s only request was the painting, the painting that reminded him of a beautiful time, a time when he and Hilda were together.

Steve, having heard the story behind the painting throughout his childhood, wondered whether the artist was still alive, wondered if there may be a chance that he could find out the name of the painting and perhaps have it signed. Steve searched the internet hoping to find some connection, some avenue to the artist. Lo and behold, he found him. He called immediately and related the story he had heard so many times as a child, the story of the painting. He desperately hoped that he could get the painting that had become one of his father’s greatest treasures signed by the artist who created it.

The painting arrived in May, tightly pressed and wrapped between 2 wood panels. To see it, to marvel in it’s simplicity, yet to sense the warmth of the day and serenity of the moment that had been captured in the painting was indeed an exciting and wonderful treat. Within a week, the painting was returned, newly matted and of course signed. The young island boy had finally received a name – “Daydreamer”.

One month later, Larry received a letter from Ernest. In it he wrote:

“Dear Larry,

Steve called me last Saturday and told me the painting had arrived. [I] could hardly wait to see it again, but Steve told me he’d bring it over the next day. He hung it without the backing, which he will have done as soon as he can. It’s hung in my apartment, and it’s the first thing you see when you come through the door. What life it gives one – the moment your in the room! I look at [it] repeatedly and always smile. I thanked you mentally – I don’t know how many times – because Hilda and I were always so thankful that you let us have it.

I’m now 87 and hope to see “Daydreamer” for a long time. But now, I start to think about the future. I have three granddaughters. I won’t want to give “Daydreamer” to Steve. I want it to go to one of my granddaughters – but which one? I love them equally. For me that becomes a problem. So what to do? Have 2 copies made? Have a drawing for the original? Problems! Problems! Problems! Chances are, I’ll never know, but “daydreamer” will stay in the family – I hope.

Thank you for letting Hilda and me have it. I hope it will pass from generation to generation. A “history of daydreamers”

Ernest”

Time and again, as Ernest sees the painting, he is returned to that day on St. Thomas where he and Hilda are once again together, inseparable, in love. After 41 years, the painting of the young island boy is finally complete. There will no longer be a mystery, only the story. Who could have imagined the power of art?

5 Reasons Why Art Education is Failing in Our Schools and Universities.
Eric Hines and Larry Gluck

You may or may not be aware of the decline in art education in the last 70 years. If you are unaware, believe me it’s been in a steady decline.

I have the pleasure of working with Larry Gluck, Founder of Mission: Renaissance, the world’s largest fine art program, who has himself been in the fine arts for quite some time.

From apprenticing with Picaso’s old class mate portrait master Giuseppe Trotta, to graduating from the Pratt Institute, to producing and selling over 3,000 of his works of art, to creating his unique method of instruction – The Gluck Method – which is currently being taught to more than 3,000 students every week at Mission: Renaissance studios in California and Canada.

Point being, Larry knows art.

We see the results of the decline of our Nation’s art education programs everyday. You would not believe the number of art teacher applicants who come to us with a degree in the fine arts who yet express their frustration with the lack of drawing and painting skills they acquired in school.

I had a discussion with Larry Gluck a few weeks ago about the decline of education in the field of the arts, primarily the visual fine arts, ie; drawing, paintings, sculpting, etc.

Here are the 5 points that Larry pointed out in aforementioned discussion that are spear heading the decline in fine art education in America.

1. The "if it feels good then do it" method of art instruction.

This is one of the main reasons behind the Bachelor of Fine Art or Visual Arts graduate not being able to draw or paint anything aside from abstract art.

I was telling Larry how many times in high school and college I ran into the "same" art teacher. They seem to be cast from the same mold! They wear birkenstocks, they are super supportive towards anything you put on a canvas, if you SNEEZE on the canvas it is a wondrous expression of art, yet they crush any hopes you have for actually making it as a fine artist.

While this may make one, who cannot draw or paint, feel good about themselves for awhile, it teaches absolutely no fundamentals in the visual arts. The basics like value, perspective, line drawing and color are all but extinct in the classrooms today.

It would not be so bad if these classes were labeled ‘Abstract Painting 101′, but they are frequently, deceptively labeled as ‘Life Drawing’ or ‘Fine Art 101′ or ‘Still-Life Painting.’

If the student asks a question on how to make their still-life look more real they are given airy-fairy nonsense, like, "if it feels good then go with it". or "what you draw is your very own unique interpretation."

Quite simply put, this is not a workable method of teaching the arts, nor will it produce an artist who can actually paint or draw realistically.

2. The "give it to me now" mindset of society.

We live in a world of instant gratification. No need to grow your own food, there is a grocery a mile away or a McDonalds. Want to loose weight? Forget exercise there’s liposuction for that!

You get the point. The same viewpoint often entangles the art student.

You see the Masters like DaVinci and Michaelangelo actually worked to become a master. There was no 4 year degree program where you obtained a student loan, then went to some art classes, complete with books and teachers and a cafeteria.

They made their own paint. They worked for years as apprentices just to have the opportunity to watch their master in action for a moment or to receive the occasional pointer.

Since there were no books on anatomy it was very common for a serious artist to purchase a cadaver so as to dissect and study the human body, gaining knowledge of the human form that they could then translate onto canvas.

Learning how to draw and paint is very rewarding. It doesn’t take a lifetime and yes, you can learn – even if you "can’t draw a straight line." All you need is the right instruction, given by a caring and capable instructor.

3. The importance of art is not valued in today’s society, especially in education.

Why is art so important? Well for starters here is some statistical data;

Per the ‘Champions of Change, the Impact of the Arts on Learning’ study; – 82.6% of 8th graders who were involved heavily in fine arts earned mostly A’s and B’s, versus 67.2% who were not.

- Students who are not heavily involved in fine arts have more than double the chance of dropping out of school by the 10th grade.

These are but a fraction of the incredible findings noted this study. So what does our educational system do? They cut the Arts budgets! Art education is simply not being viewed as important to building our future society.

This may sound over-the-top, but when you really look at this you will see that it’s true, art is what societies culture is built upon! Think of ancient Rome, Greece, Modern day China, America. All these societies were/are a reflection of their art and artists.

What kind of culture are we building with a half-measure art education system, unworkable teaching methods, or worse yet, none at all due to budget cuts. The artist is important in building our future, yet we aren’t educating the artists!

4. "The Talent Myth," that one must be born with the ability to draw and paint.

The talent myth pervades society and it’s learning facilities. That talent is a "gift" handed down from some lofty cloud, or it’s in your genes, or the planets were perfectly aligned when creative souls were born. Name for me one other field where this is the pre-requisite.

In discussing this Larry tells us three things;

First, that every thing has a technology to it, if you learn the basics and fundamentals to it, and practice it, you can do it.

Second, after teaching art for over 30 years – currently with more than 3,000 students enrolled – I can tell you that "The Talent Myth" is exactly that – a myth. I can also tell you that the vast majority of art teachers today are either buying into the myth or do not know how teach a student with no raw natural talent.

Third: When "these bastions of art" tell someone, from their ivory tower of authority, that one cannot succeed in the arts due to lack of talent, it becomes very hard for the individual to overcome this. It basically sits on one’s ingrained fear of failure and thus another potential artist is ruined.

If an art instructor, teacher, school administrator, parent, sibling or "friend" has ever told you, your child, or a loved one that you do not have the talent to become an artist, let alone an excellent one, they have mislead you. There is still hope.

A neurosurgeon was not born with a natural ability to operate on the brain. They spent years in school, studying hard, interning for years, and learned the basics of brain surgery and thus could eventually become a successful neurosurgeon.

The same concept works for the artist. But it need not take years.

5. Schools and art teachers are not producing a real product when teaching.

One would expect that after taking art classes in college for 4 years and spending tens of thousands of dollars or more on tuition that one would be able to draw and paint like a pro.

As mentioned, we have many graduates of the arts who come to our art schools to apply for a position as an art instructor, yet who’s basic drawing and/or painting skills are elementary at best!

The art school and teachers have not produce the product in their students that they have been paid for. Why is this so widely acceptable in the Arts? One may find this almost criminal.

This is usually the result of the teachers who either don’t know the fundamentals of the visual arts, or who are unwilling or are unable to provide them to the student.

How do we know this to be true? Often we will run across a graduate who applies for an art instructor position, but whose skills in the arts are not very impressive. However they exhibit an excellent personality and eager willingness.

When hired, and put through our training program they, for the first time, really learn how to draw and paint. This is not our claim, but that of the student. In a matter of months they are not only able to draw and paint beautifully, they can and do successfully instruct others in how to do the same!

There you have all five reasons why art and education is declining in America. Hopefully you can use this information to help you and those you love in their artistic aspirations.

Art teacher challenges myth of innate artistic abilities
Meredith Grenier

ROLLING HILLS ESTATES – “I can’t draw a straight line.”

How often have you heard this lament — often coming from your own mouth? Maybe you are convinced you have no artistic talent — no natural ability, no gifts from the visual arts gods. Your hands are tied by fate and you can never learn to draw, much less paint.

Nonsense, says Larry Gluck, founder of Mission: Renaissance Fine Art Studios. The Glendale-based business operates a studio in Rolling Hills Estates and 18 others throughout Los Angeles County.

“Anyone can learn to draw — and draw well,” says Gluck.

It is not that difficult, he says. You can learn to play the piano, to speak a foreign language, or master the game of golf. Why is learning to draw so special.

“Any complex activity can be broken down into understandable and simple steps. By learning the correct steps in the proper sequence, you can acquire any talent,” says Gluck.

That’s the premise of an art program he conceived more than 20 years ago, after spending nine years as a professional watercolorist in St. Thomas, where he sold 3,500 representational paintings of the Virgin Islands. Soon his art program will spread to studios in Orange County, San Diego and San Francisco with long-term plans to go nationwide.

Judging from increased attendance by children and adults at South Bay art schools, fewer people are intimidated by what Gluck calls the “natural talent myth,” which for years has frozen would-be artists into a creative dead zone.

Even with a plethora of art classes offered in adult education programs and community centers, local art schools are thriving. In the Peninsula-based Mission Renaissance children’s after-school program alone there are 12 classes a week (each with an average of 15 students). And throughout Los Angeles County 4,000 adults and children are enrolled in Gluck’s Mission: Renaissance program.

NO EXPERIENCE NEEDED

In this system, students with no previous experience progress at their own rate, but the average beginner takes about 10 weeks to master the basic line drawing course, beginning with learning how to hold a charcoal pencil. Students then advance into the basic tone drawing course (averaging 12 weeks) in which they complete three-dimensional, shaded charcoal drawings before delving into their choice of oils or watercolors.

Bernadette Chao, 62, of Rolling Hills, enrolled in Patricia Merrill’s Missions: Renaissance class after her children left for college. On a recent Tuesday morning she worked with oils on a still life.

“I started a year and a half ago, and I never thought I could do this at all,” Chao says. “I feel like I am a new person. All my life I was a housewife, mother and took care of my aging parents. Finally, this is something I can do for myself, and my family is really proud. I have become more comfortable with my art because I see I am really improving.”

Chris Olton of Rancho Palos Verdes has completed about seven classes in the beginning drawing program. She is working on a drawing of a camel from a three-dimensional model.

“I come to class religiously. I don’t miss a day,” says Olton. “I am enjoying the process, and I am in no hurry. I’m learning the terminology and techniques. The time goes by like that,” she says, snapping her finger. “It is just you and the pencil. You are concentrating so much on what you are doing. It is very rewarding.”

Merrill, a San Pedro artist, has taught the adult classes at the Rolling Hills Estates location for about seven years. She loves her job and calls her students “family.”

“I have seen people’s lives change dramatically from taking these classes,” she says. “Some of my students have had extreme tragedies in their lives and I have worked with people with various types of disabilities. Finding they can do something they never thought they could do makes their self-esteem skyrocket along with their art ability.”

JoAnn Hood of Palos Verdes Estates has attended for two years, but is often out of town and misses classes, sometimes for three months at a time. She is able to make up all missed lessons, however.

“It’s amazing. Patricia remembers right where I left off, and she is able to come down to my level, and we continue to make progress,” says Hood, who has completed both drawing programs and is working on a watercolor exercise using washes, in the beginning watercolor course.

In his book The Talent Myth, Gluck points out that the natural talent myth has been perpetuated for decades by successful artists and art dealers, who want to keep art from flooding the market and deflating the price of artwork by the most sought after artists. Gluck points out that talent can be learned and natural creativity exists in everyone.

He adds that you don’t have to make art a profession to enjoy it. Nor do you have to be excellent in the eyes of others as you learn.

“Creating art is for you first — then others,” he writes in The Talent Myth. “Art helps strengthen an awareness of ourselves. It reveals the best there is in us. There are no losers in the arts — only winners. Not everyone can be a master. But anyone can be an artist.”

How to Choose the Perfect Art Instructor


Eric Hines and Larry Gluck

There is nothing worse for the excited eager-to-learn art student than walking into a poor learning environment run by a mediocre art instructor.

In short order the student is set up for loss after loss. The fundamentals are either not taught in a simple easy to understand fashion, that the student can grasp, or they may not even be taught at all!

Very often the art student decides that the fine art of drawing and/or painting is just too difficult and gives up. They blame themselves, often with the the self created idea that they may not have enough artistic talent.

Whereas most of the blame usually falls on the shoulders of the student, the true cause falls at the feet of the art instructor and poor instruction.

This is exactly what happened to my wife.

My wife is originally from Canada, she first came to America on a student visa to study art in college. The instruction was terrible.

Both her drawing and oil painting classes were taught entirely on the unworkable method of “if it feels good go with it.”

Unfortunately my wife could not “feel” her way into learning basics such as capturing light and shadow, how to draw in proportion, the use of color and tone, how to sketch in charcoal, differences in working with oil vs. watercolors.

Needless to say she the only thing that she could “feel” good about was changing her major.

With hundreds of colleges and thousands of private art instruction schools across the country how does one go about picking an art instructor that will teach one how to draw and paint properly?

I was lucky enough to be able to ask Larry Gluck what one should look for when choosing an art school and instructor so one achieves their goal in becoming a better artist.

Larry Gluck is the founder of the world’s largest fine art program.

After 33 years employing hundreds of art instructors and teaching over 3,000+ students every week how to draw and paint this is the advice Larry has in regards to choosing an art teacher…

“Here are a few pointers on what to look for in a fine art teacher. I hope they help in your search for a good drawing and painting instructor.

1. Do you like the teachers work?

It’s important to respect what your teacher does. Now matter how objective he is about his work, he’ll teach you what he knows – and what he knows will be reflected in what he does.

On the other hand, don’t judge a teacher only by his work. Teaching is not the same as doing, and some teachers are very good painters but terrible instructors.

Others don’t have enough intention to help students through the rough spots. Although a teacher much have knowledge and talent to merit teaching his subject, the determination to help you and see that you indeed learn should be his top priority.

2. Does your teacher start with the fundamentals?

A gradual approach is necessary to learning. You start with the most basic fundamentals and continue from there. Too many instructors assume that you already know them, or worse, don’t know them well enough to teach them.

Also, some people involved in an art form for a long time use the fundamentals so automatically they’re no longer aware of them. This of course, would be a terrible failure on the part of the teacher – but it does happen.

3. Are you actually improving?

If the instructor teaches you the basic skills step by step, one after the other, making sure you master each one before moving to the next, you should improve.

If not, something is wrong with the instruction, not with you. A good instructor should be able to break the needed skills down into steps simple enough for you to learn successfully.

4. Are you being treated as an individual?

We all have different strengths and weaknesses. A good teacher realizes this and treats each student as an individual. A poor teacher treats everyone the same or has a few favorite students.

5. Are there too many people in your class?

If there are more than ten students with only one instructor, you won’t benefit from what he has to give you.

Because we are all so different in awareness and ability, there must be a way for you to receive some one-on-one instruction.

6. Are you training with people you like?

It helps to learn with people who encourage and support one another, admire each others efforts, and are genuinely pleased to see other’s progress.

It would also help to have friends with whom you can also discuss the art form.

Artistic Companionship causes growth.

7. Are you pitted against others?

Some teachers feel that competition is needed among students is necessary to spur them on. It isn’t.

Perhaps the teacher will be less bored but it does nothing for students, particularly in the arts.

You should only be competing against your present limitations.

8. Is it a safe place in which to learn?

Any learning environment must feel totally safe.

This is especially true when learning an an art form where the stakes are so high and the intimidation factor can be so great.

If you feel intimidated anyway when you go to class, it’s probably the teachers fault, even if the intimidation comes from other students.

A good teacher controls the students and is responsible for how they make one another feel.

Some instructors intimidate students with an overbearing manner.

Some set themselves up as authorities or unattainable examples of talent.

Some favor a few students over others.

If any of this is happening, find a new art teacher.

9. Is there criticism without help?

An overly critical teacher can make you give up.

Criticism without instruction on how to improve is hinderance, not a help.

Rather than continually pointing out what is wrong with what you are doing, a good teacher should give you tasks to do.

A student progresses by winning, not loosing. Ask yourself if you feel better since you started the class – better about yourself, your ability, and what you are doing. If not, change teachers.

10. Are you getting individual help?

Perhaps there’s a piece of knowledge don’t quite get or a technique that you just can’t seem to apply.

Does the teacher take the time to help you? Is he or she prompt with the help but patient with your problem?

Can the teacher get to the root of your difficulty and help sort it out?

If not you are wasting your time and money.

If you aren’t getting better and having fun while doing so, your instruction is falling down on one or more of these points.

Go over this list and find out exactly what is wrong. If it isn’t something you can correct by talking to your teacher, change to another.

All art forms appear difficult to a beginner. A good teacher will show you not only that excellence is attainable, but also how.

Even though you may not feel you can do it, a good teacher knows you can and will see to it that you learn to.”

Since the dawn of history, art has been a fundamental part of life. From cave paintings to masterpieces at the Louvre, we find this common denominator in every culture. It is an extemely worthwhile endeavor.

The questions remain: How do you go about creating art? Is natural talent necessary? According to Fine Artist and Educator Larry Gluck, Founder of the Mission: Renaissance Fine Art Studios, it all comes down to mastering the basics. These days if you desire higher education in the field of the arts, you have to prove that you can already do it by producing a top notch portfolio. If you were a natural talent, fine, but for most people this barrier proves insurmountable.

The answer to this catch 22 is to learn the fundamentals of the subject in the correct order. Larry Gluck has researched and revived the lost Fine Art techniques and often neglected basics needed to really teach someone art. “The worst thing anyone can do is to tell a child he has no talent. In our studios we see that when you provide a child with the correct information in a supportive environment their talent will blossom. We see it everyday.”

Today school systems separate “talented” children from those that they deemed untalented. The question is what kind of parameters exist to make such conclusions? If you give any child a pencil and paper, there is 100 percent certainty that he or she will do something creative with it. There is also 100 percent certainty any child will develop artistic skill providing there is a method of instruction not based on opinions or abstract concepts. “Everyone can acquire the talent to draw and paint beautifully,” Gluck says. His main challenge was to create a standard method of Fine Art instruction that could get results from one person to another, and that is Mission: Accomplished.