PART 1: INTRODUCTION

PARK WEST INTRODUCTION, TRAINING PREPARATION

FOUNDATION: ART MEDIUMS & MOVEMENTS

 PARK WEST GALLERY | TRAINING PREPARATION

Dear Trainee,

Congratulations on your selection to attend our upcoming Park West training session!

Park West Gallery has been bringing fine art to people all over the world for over 45 years. We provide a
complete experience based art program onboard over 95 cruise ships worldwide, including auctions, seminars,
exhibitions, artist-sailings, and other special events that our customers truly love and look forward to
attending. Since 1969, we’ve steadily built a client base of over 1.4 million art collectors in over 68 countries.
We inspire art collectors and a great thirst for the enrichment, enlightenment, and joys of owning fine art
through our exciting art programs and fantastic selection of artwork.

The independent contractors (IC’s) providing services to us love what they do. In fact, some have said, “It’s
the hardest job you’ll ever love” because the position is challenging, yet can be extremely rewarding both
internally and monetarily to those with determination and great work ethic. We take pride in the strong
support structure that we offer, and the IC’s we work with are proud to be associated with a company that has
such a successful business model combined with steep history.

The 9-day training session in Miami will be most effective if you arrive fully prepared. This study guide
highlights some of the most important information you should know before arrival. Importantly, please note
that a large part of your success in training will be in direct correlation to your preparedness. The strongest
candidates at training may even be offered top ship placements, with an opportunity to work with some of
our best Auctioneers. Therefore, it is in your best interest to ensure that you are fully prepared for the
training.

We are looking forward to meeting you! We’re confident you’ll not only learn a lot about art, but you’ll also
learn a lot about yourself as you take this important step toward your future.

All the best in success,

Stoney Goldstein
Executive Vice President of Sales
Park West Gallery
 PARK WEST GALLERY | TRAINING PREPARATION

STUDY PREPARATION GUIDELINES

Artist knowledge is first priority. This information is the most heavily weighted in your assessment at training, and is
the biggest determinant of success, as this information allows you to represent our artists professionally. As you plan
your study routine, know that artist knowledge is objective #1 if you plan to succeed at training.

1. ARTIST PRESENTATIONS
Your artist presentations should be properly structured, factually correct, and engaging – without the use of
notes. You will also be expected to visually recognize each artist’s works in the gallery.
Note that the following contemporary artists are Park West’s most commonly collected:
Alfred Gockel Linda LeKinff
Anatole Krasnyansky Marcus Glenn
Autumn de Forest Peter Max
Bernard Louedin Pino
Csaba Markus Romero Britto
Duaiv Scott Jacobs
Emile Bellet Thomas Kinkade
Itzchak Tarkay Tim Yanke
LEBO Yaacov Agam
Leroy Nieman
For the Master artists: you should be familiar with the time in which they lived, their most notable
achievements, and the basic bullet points for each series in this guide.

2. PARK WEST GALLERY AND THE ART WORLD

• Be familiar with Park West Gallery’s Mission Statement.
• Be able to introduce Park West Gallery in a conversational manner.
• Have a basic comprehension of why people enjoy and collect art.
• Be able to present an exhilarating “Welcome Aboard Speech.”

3. ARTISTIC MEDIUMS AND MOVEMENTS

Finally, you need to build foundational knowledge of various artistic mediums and artistic movements.
There are many art mediums and movements, but the following are most commonly utilized by artists:
• Artistic Mediums: Etching, Lithography, Serigraphy, Giclée
• Artistic Movements: Cubism, Fauvism, Impressionism Pop Art, Surrealism,
 PARK WEST GALLERY | TRAINING PREPARATION

WHO IS PARK WEST GALLERY?

Park West Gallery Mission Statement
A thorough understanding of our Mission Statement – who we are and what makes us unique – is very
important:

Park West Gallery's mission is to create an educational, entertaining, and welcoming

environment that ignites a passion for the arts and creates a collecting experience like no other
company in the world. Park West Gallery supports a myriad of artistic talent, engages the
widest array of audiences, and advocates genuine artistry while maintaining only the highest of
professional standards.

Important Facts about Park West Gallery

You may be interacting with guests who may have never been on a cruise or a Park West Gallery
auction, and may find it difficult to digest the concept of an art auction at sea. The following are
bullet points you should memorize in order to introduce the gallery properly to potential clients. You
should be able to present these facts in a brief (30-second) conversational introduction.

 Park West Gallery is one of the largest privately owned art dealers in the world and has been in
business for over 45 years – since 1969.
 Park West Gallery produces live art auctions onboard over 100 cruise ships worldwide.
 Park West Gallery provides the art programs for cruise lines including Azamara, Carnival Cruise
Line, Celebrity Cruise Line, Holland America Line, Norwegian Cruise Line, P&O, and Princess.
 Park West Gallery has built a client base of over 1.8 million clients in over 68 countries.

WHY COLLECT ART?

Understanding Why People Collect Art
To relate to guests that appreciate art, you need to understand a bit about why art is important to them
and why they might be interested in collecting. Some guests will not have arrived onboard the cruise
ship with an interest in the arts, but you will find the onboard art program provides an opportunity to
expose them to something new and to spark an interest.

Some people will never buy fine art – they just don’t see the value in it. That’s fine. But most people still
appreciate it, and if you can discuss why it might interest them, you’ll enhance their experience onboard
and hopefully inspire them to collect. So – why do people enjoy and collect art? There are myriad of
reasons, but the most common are:

• Aesthetic value: they like how it looks. They want to decorate their walls.
• It moves them: according to Pablo Picasso, “Art washes away from the soul the dust of
everyday life.” Some people emotionally connect with a work of art.
• Personal meaning: the subject matter is important, it commemorates an event, etc.
• Historical value: some works we offer are already centuries old, but even modern art is
frequently acquired with the intention of making it a family heirloom.
 PARK WEST GALLERY | TRAINING PREPARATION

• Expression of Self: for some collectors, art is a way to visually display their inner thoughts,
feelings, or desires.
• Status symbol: the artwork itself creates a sense of pride.

What makes art valuable?

Many people wonder, “Why is this one $500 and that one $15,000?” There are many factors that go
into the price and value of a work. Among them are:

• Rarity: Availability vs. Demand

• Name, Reputation, & Ability of artist
• Medium: limited edition, embellished, unique, etc.
• Edition size
• Physical size of the artwork
• Quality of imagery
• Presence or Lack of Signature
• Technique
• Historical Importance
• Importance within artists’ oeuvre (a.k.a. body of work)

LEVELS OF COLLECTING
Most people refer to any artwork they see as a “painting.” While many works are in fact one-of-a-kind
paintings, there are various other types. You will find three major categories offered to guests onboard
– listed in terms of availability, from the most basic to the highest level of collecting.

Graphic Works
Often called “prints,” these works should be referred to as “graphic works” Unique One-of-a-Kind
to help distinguish them from posters. Creating a graphic work requires a Work
great deal of artistic talent, creativity, attention to detail, skill, and
patience. Artists can spend decades perfecting just one graphic
medium.
Embellished Graphic
Work
To the uninformed, a graphic work may seem like just a “copy” of
a painting, so guests may not understand why they often sell for
Graphic Work
thousands of dollars. If you get this reaction, you can explain
that the works they see are not simply posters but are truly
art forms in themselves, and collecting graphic works has
benefits for the artist and collector alike.

Many of the methods for creating multiples originated centuries ago. Creating only one work at a time
can be very time consuming for an artist. For example, photo-realist painter Scott Jacobs spends
hundreds of hours on a single painting and thus is only able to create 3-4 paintings a year. It would be
impossible for him to keep up with the demand for his work! Secondly, not everyone can afford to
purchase a unique work. Quality graphic works often get mistaken for their unique counterparts, but
can cost a fraction of the price of a painting from the same artist. A Scott Jacobs painting can sell for
 PARK WEST GALLERY | TRAINING PREPARATION

$30,000+, but his hand-signed graphic works, limited to just a few hundred examples, are usually
available for just $1,000-$2,000. In short, graphic works allow an artist much greater exposure while
also providing affordable access to fine artwork to the general public. It’s a win-win situation! This is
also why graphic works are great for beginning collectors – it’s a more affordable way to collect while
still getting a work that is limited in edition.

A graphic work is essentially a method wherein the artist creates a matrix (or matrices) that are used to
create multiples of the same work of art. Once the matrix is created, the image can be printed on paper,
canvas, or even wood. The printing process can be very complicated (which will be described in detail
later in this guide), so most artists have an entire team of professional, highly-trained printers and
publishers to help them. In the following pages you’ll learn many different techniques for creating
graphic works – serigraphs and lithographs are two of the most common – but the main thing to
understand is that all graphic works are art forms in themselves and have a high degree of involvement
from the artist through the entire process. An artists’ work is their reputation and thus extremely
important to them, so they will not hesitate to destroy any examples from an edition that do not meet
their extremely high standards.

Embellished (Graphic) Works

An “embellished work” is a graphic work that has had hand-retouches, or embellishments, added to each
artwork after the edition is completed. Typically, this is done to mimic the look and texture of a “one of a
kind” painting. You’ll notice that some embellished limited editions are numbered on “the verso” (back)
for this same reason. In some cases, the artist does the embellishing himself (like Peter Max, Csaba
Markus, and Anatole Krasnyansky), but in most cases, artists will embellish a few examples from the
edition and highly-trained artisans who work for their atelier, or studio, will complete the remainder of
the examples in a similar manner. As with printing, though the artist has help, they remain highly
involved at all levels and approve all work before signing a work of art.

In general, due to the extra work involved, hand embellished works have smaller edition sizes than non-
embellished works. This combination of factors makes an embellished work significantly more
expensive than a non-embellished work (all other factors held constant).

Unique, One-of-a-Kind works

Unique works are the best, and most expensive, artworks available – this is the highest level of
collecting. They are the only one that exists just like them. The technical art term for any one of a kind
artwork is “unique.” Historically, “original” used to mean unique, so most people today who talk about
an ‘original’ artwork really mean a ‘unique.’ The term ‘unique’ is the most accurate word to use.
“Original art,” by contrast, is defined as any artwork created directly under the control and supervision
of the artist. Thus, the graphic works we sell are also original works.

Unique works include acrylic paintings, oil paintings, watercolors, drawings, pastels, and some mixed
media works.

GRAPHIC MEDIUMS
A common question asked about printmaking is, “Is one technique more valuable than another?” The
answer is no.
Artists choose specific printmaking techniques for two reasons:
 PARK WEST GALLERY | TRAINING PREPARATION

1. They are in search of certain inherent results, characteristics, and qualities found in those
techniques.
2. They enjoy the process of creating graphic works/prints in that medium. Picasso said that if he
made only one actual print from the 500+ plates he created in 1968, he would still have created
all of the plates because he so enjoyed the etching, proofing and re-working process of each
image.
Many artists use a variety of different printmaking mediums, since their aim is to achieve a variety of
expressions of their artwork, though certain artists do excel in certain mediums and those prints may be
more sought after by collectors. As an example, Marc Chagall was lauded for revolutionizing color
lithography, so many collectors seek his lithographs. The same can be said for Joan Miró’s color
aquatints or Rembrandt’s etchings. But, in general, there is no inherent value difference between the
differing mediums.

Intaglio Techniques
Lines and impressions below the surface of a metal plate form the image of an intaglio print. Ink forced
into these areas is released onto dampened paper that is pressed against the plate under great
pressure. If different colors are used, a separate matrix is created for each color to be used in the
design, printed one on top of the next. However, the majority of intaglio prints carried by Park West use
black ink only.

It should be noted that the only way to “proof” an intaglio work is to print it. Sometimes, artists make
several prints, then make changes to the original matrix (the plate). This is known as a change of
“state.” Also, note that as the plate is repeatedly printed, the surface wears down, so graphic editions
created with intaglio techniques must be modest in size.

Examples of intaglio include etching, engraving, aquatint, and mezzotint. Etching and engraving were
the most commonly used and significant techniques in old master prints, and remain widely used today.
Masters of these techniques include: Durer, Rembrandt, Goya, Chagall, Miró, and Picasso.

Etching
In the process of etching, a metal plate is covered with a waxy, acid-resistant ground. The metal
most commonly used is copper, but zinc or steel may be used. The artist scratches off the
ground using a needle, called a burin, exposing the metal beneath. When all the lines are
drawn, the plate is then submerged in an acid bath, which ‘bites’ away at the exposed metal,
creating lines. The plate is removed from the acid bath, cleaned, and inked. Excess ink is wiped
off so that ink is only left in the etched lines. Moistened paper is placed over the plate and put
through a high-pressure printing press. The pressure forces the paper into the etched lines and
pulls the ink out, leaving the completed image on the paper in reverse.

To view the process, please reference this video on YouTube:

https://www.youtube.com/watch?v=fjDQ3UlG2OE

Engraving
Engraving is a similar process to etching, but the artist uses tools to manually remove metal
directly from the plate to create lines – no ground or acid is used. The inking and flat bed press
process used in engraving is the same process as etching, described above. Engravings are
characterized by particularly sharp, crisp lines.
 PARK WEST GALLERY | TRAINING PREPARATION

For a YouTube video demonstrating this process, please see:

https://www.youtube.com/watch?v=fQvghHs15hA (“From Paper to Copper: The Engraver’s
Process by Eric Paul Meier – YouTube)

Aquatint Etching
Aquatint etchings are created using an acid-resistant resin which is applied to the metal plate
and then heated. This resin creates a roughness on the plate which adds texture to the image.
The plate is then immersed in an acid bath, which bites or etches the plate in tiny pools around
each resin particle. These small pools retain ink and create a soft, tonal effect similar to
watercolor.
Video on Aquatint Etching can be found here:
https://www.youtube.com/watch?v=CZ2YidXeKKE (“How to Aqua-tint a Print. (Printmaking)” by
Snake Artist)
Mezzotint
Mezzotint is the inverse of the other intaglio processes, since the artist essentially works
backwards from black to white. It is created using a copper plate and a special tool called a
“rocker.” The rocker is “rocked” back and forth over the surface of the plate and roughens the
entire surface of the plate with tiny holes and burrs. If the plate were printed at this time, ink
would pool in all of these holes and the image would be completely black. To create the image,
the artist smoothes out the areas that are desired to be white when printed. The artist works
back and forth using a rocker and smoothing tool until he is happy with the final result.
Mezzotints are characterized by smooth, velvety transitions. Artist Robert Kipniss is hailed as an
expert in this medium.
Video of the process of Mezzotint is demonstrated here:
https://www.youtube.com/watch?v=rX47mOt8NE4 (“Mezzotint” by Marc Bedo”)
Relief Techniques
Relief techniques are essentially the opposite of intaglio. Wood or linoleum is carefully prepared as
a relief matrix, which means the areas to show 'white' are cut away with a knife or chisel, leaving the
image to show in 'black' at the original surface level. Printing is done as you would imagine a rubber
stamp being rolled with ink and pressed onto a surface, which can be done by hand or with a press. As
with intaglio techniques, the final image is a reverse image of the matrix, and a separate matrix (block) is
created for each color to be used in the design. Examples of relief techniques include wood engravings,
woodcuts, and linocuts – the main difference between each is the matrix used.

Wood Engraving
The matrix is an end grain block of a log, sometimes a few blocks
glued together if a larger design is desired.
Video: https://www.youtube.com/watch?v=K9O1aUrTNJs (“Wood
engraving and Printing” by Daniel Dumcombe)
Woodcut
The matrix is a block of hardwood on the side grain (“plankwise”).
The phrase “woodblock print” is sometimes used to describe a
 PARK WEST GALLERY | TRAINING PREPARATION

woodcut impression. The only difference between a wood engraving and a woodcut is the grain
of the block matrix (see right).
Video: https://www.youtube.com/watch?v=mgCYovlFRNY (“Woodcut Printing 1450-1520” by
Victoria and Albert Museum)
Linocut
Linocut is similar to wood engraving and woodcut, except the design is cut into a sheet of
linoleum.
Video: https://www.youtube.com/watch?v=ZhtnSImHauA (“Making a linocut” by appeduAT)

Surface Techniques
The image is created on the surface of a metal or stone plate that is altered chemically rather than
mechanically or dimensionally. Once again, a separate matrix is created for each color to be used in the
design, meaning one color is printed at a time; after drying time, the next color is printed on top and the
process is continued until the entire image is completed.

Lithograph
Lithography is based on the repulsion of water and oil. In traditional lithography, a slab of
limestone is ground to a completely level surface, though today, metal plates are often used
instead. Using a lithographic crayon or fluid ink that contains grease, the artist creates his
design, in reverse, directly on the surface of the plate. The plate or stone is then wiped with a
wet sponge. Water adheres to the undrawn areas but does not adhere to the greasy drawn
areas. Ink is then spread over the plate or stone with a roller, adhering to the drawn areas only.
Paper is placed over the plate or stone and passed under a flat-bed press and the ink is
transferred to the paper from the plate or stone. After the print is removed, examined and left
to dry, is rolled again for the next color “impression” to be printed. Lithography is characterized
by subtle, milky colors and soft lines. Henri de Toulouse-Lautrec was an early innovator of the
technique, and Marc Chagall revolutionized it.
Video demonstration: https://www.youtube.com/watch?v=nUXDltQfqSA (“Pressure + Ink:
Lithography Process” by MoMAvideos)
Serigraph
Serigraphy is based on stencil printing. Stencils are adhered to a porous polymer material
screen (silk was the original material used, thus the term “silk screen”) which is stretched tightly
on a frame. Once the stencil image is completed and adhered to the screen, paper is laid
beneath it, and ink is forced through the stencil and screen onto paper by a squeegee.
Serigraphs may be printed on differing materials such as paper, canvas, fabric, metal, etc. As in
the other techniques described above, each color requires a separate stencil and printing
application. Serigraphy is characterized by beautiful texture from the layered colors and precise
lines. Innovators in the technique of serigraphy include, Andy Warhol, Erte, and Yaacov Agam.
Video demonstration: https://www.youtube.com/watch?v=wmqxWLiZxNc (“Layers – the
Serigraph Print Process” by Steven Holmes)
 PARK WEST GALLERY | TRAINING PREPARATION

Spray Techniques
The image is created when archival inks are sprayed in very fine droplets in a very controlled pattern
onto canvas or paper. The primary spray technique today is giclée (pronounced JHEE’ clay).

Giclée
Giclée printing is an example of the artist’s use of continually emerging technologies and tools –
it is a form of ‘digital’ printmaking. A capture of an existing image is made either through digital
photography or by flat-bed scanning of the work. Once the image is captured, it is loaded into a
computer and the digital file becomes the “matrix,” like a plate, stone, or screen in other
printmaking media. The artist or assistants under the artist’s supervision edit and correct the
digital file and then “proofs” are printed for evaluation. Color corrections often take hundreds
of attempts before they meet the artist’s approval.
Artists typically select giclée as their printing medium of choice if their work relies heavily on
realism or very subtle techniques of color and light and shadow variation, techniques which are
difficult to achieve in the traditional printmaking processes. Giclée printing is the fastest
growing innovation in the fine art market at this time. This contemporary technology produces
precise detail and brilliant coloration. The image resolution is higher than with other graphic
mediums, resulting in crisp contrast with rich, intense colors.
Video Demonstration: https://www.youtube.com/watch?v=F1jctjzSJLE (“Print Making from Tim
Gagnon GagnonStudio the basics of making giclée prints” by gagnonstudio)
Other Techniques
Seriolithograph
Seriolithographs are a combination of lithography with serigraphy to create a richly detailed
graphic work. By combining blended colors obtained through lithography with the depth and
texture created through serigraphy, the seriolithograph is emerging as an ideal printmaking
technique for modern day fine artists. The artist usually begins with the lithograph, transferring
the desired image to high quality paper. Then silk screens are used to texturize the image and
add the magnificent spectrum of color.
Mixed Media
Mixed Media refers to art in which more than one medium has been employed in its creation.
Artists can use a combination of graphic and hand painting techniques to give an image of
greater texture and depth or to achieve specific results that one medium alone cannot produce,
such as painting, lithography, and drawing together. The use of mixed media began around
1912 with the Cubist collages and constructions of Picasso and Georges Braque and has become
widespread as artists developed increasingly open attitudes to the media of art. Some, but not
all, mixed media works are classified as unique or “unique variations.”
Production Cel
A cel, short for celluloid, is a transparent sheet on which objects are drawn or painted for
traditional hand-drawn animation or feature film. The outline of each image is created by either
tracing the original animator’s drawing or by photocopying it onto a sheet of clear celluloid. The
cells are then painted on the reverse side to color the image. Each one represents a frame of a
character’s movement, with each cel providing 1/24th of one second in animation. With the
 PARK WEST GALLERY | TRAINING PREPARATION

advent of computer assisted animation production the use of cels have been practically
abandoned in major productions. This is why production cels - used during popular animated
shows (i.e. Walt Disney productions and Hannah-Barbera) - have become widely collected, some
selling for tens of thousands of dollars. Many consider this a lost art form, as most (if not all)
modern animated shows use computer design rather than hand-drawn or hand-painted cels.
Video demonstration: https://www.youtube.com/watch?v=dRKWRMbTvWs (“History of Cel
Animation” by TomPreston6)
Lost Wax Bronze Technique
The object to be sculpted begins with a clay core. This clay is covered with wax, and then
sculpted to the finished form. Once the wax hardens, it is covered with clay. The object is
baked, thereby hardening the clay and melting the wax. The wax melts out of the bottom of the
baking receptacle, hence the name “Lost Wax” technique. The space created by the wax is then
filled with bronze, which cools and hardens until the clay can be removed. This bronze sculpture
is the work of art, which can be painted or embellished as the artist desires. Intricate works can
be achieved by this method, depending on the carver's skills.
Video demonstration: https://www.youtube.com/watch?v=uPgEIM-NbhQ (“Lost Wax Casting
Process” by National Sculpture”)
Painting Techniques
The following are mediums used to create unique, one-of-a-kind works of art.
Oil
Oil painting was first used in the 5th – 9th centuries, and gained popularity in the 15th century. It
is known for its rich colors, smooth appearance, and excellent blending properties. Oil paint
takes 1-3 weeks to be dry to the touch and 6-12 months to be dry enough to varnish. Because
of the slow dry time, oil paintings take much longer to complete, but allow for easier blending of
colors than acrylic and thus produce rich, lush, and sometimes life-like final products. Oil paint
dries by oxidation, not evaporation.
Acrylic
Acrylic painting gained great popularity in the 20th century and is most commonly used by
painters today. Acrylic paint is fast-drying paint that is plastic in nature. Acrylic paints can be
diluted with water, but become water-resistant when dry. Depending on how much the paint is
diluted with water or modified with acrylic gels, media, or pastes, the finished acrylic painting
can resemble a watercolor or an oil painting, or have its own unique characteristics not
attainable with other media.
Watercolor
A watercolor refers to a painting or drawing that was created with pigments that are suspended
in a water soluble vehicle. The most common ground or surface to create watercolors on
includes paper, vellum and wood. In addition to traditional watercolors, there are two
important derived forms of watercolor: tempera and gouache. Due to the pigment being water
based it is quite transparent and allows the surface to shine through and create a luminous
effect. Watercolor’s inherent luminosity, combined with its capacity for rapid execution, gave
landscape painters an ideal means for recording the fleeing effects of nature. While watercolor
may not rival oils fur durability and longevity, it is a medium that has a very durable and
 PARK WEST GALLERY | TRAINING PREPARATION

distinguished history. Despite the prehistoric roots of painting with water-based paints, it is
with later Chinese and Japanese and then Middle-Ages European artists that watercolor became
recognizable as the medium it is known today. In addition to traditional watercolors, there are
two important derived forms of watercolor: tempera and gouache.

ARTISTIC PERIODS & MOVEMENTS

Artistic movements often overlap. Art historians disagree on exact dates, definitions of movements, and
even the artists involved in particular movements, but the following may be used as a general guide.

When presenting on an art movement you should be prepared to provide a full detailed overview of
the movement including the following points:
 What year/what time period was the movement started?
 Who or which group of artists started this movement?
 What’s the genesis of the movement / why was this movement started?
 Who are some of the major artists associated with this movement?
 How would you visually describe this movement?
 What kind of impact did this movement have on modern art? In other words, how did this
movement change the perception of art?

Renaissance through Romanticism and Realism

Pre-modern Western art experienced dramatic changes beginning with the
Renaissance in the 14th century. While still depicting clearly recognizable
subjects – typically with religious, mythological or aristocratic themes – art
evolved in the following centuries to embrace more evocative use of light.
Artists also started to depict landscapes and stiff life as the subject matter of
their paintings. This transition continued throughout Romanticism, particularly
focusing on glorious light and dramatic scenes. The Realists took a step further
from “classical” art subjects and began capturing the social changes in the early
days of industrial and political revolutions.
Famous Renaissance Artists: Leonardo da Vinci, Michelangelo , Albrecht Dürer

Modernism
One of the most broadly interpreted eras in art which typically encompasses
numerous other movements, including impressionism, abstract expressionism
and minimalism. Francisco Goya is often considered a key progenitor of the
modern movement, with his focus on “real” life and people rather than
mythology, religion and the aristocracy. Modernism is loosely considered to
have begun in the early- to mid-1800s.
 PARK WEST GALLERY | TRAINING PREPARATION

Impressionism
Impressionism was a 19th-century art movement that began as a loose
association of Paris-based artists whose independent exhibitions brought them
to prominence in the 1870s and 1880s. The genesis of impressionism was the
invention of photography; photography replaced the need for representational
painting. The impressionists and their precursors, the Barbizon painters, were
the first to ‘free” painting from slavery to the visual illusion of reality, and allow
the two-dimensional surface to be recognized and respected for what it was.
Characteristics of Impressionist paintings include an unfinished texture with
visible brush strokes, open composition, emphasis on light in its changing
qualities (often accentuating the effects of the passage of time), ordinary
subject matter, the inclusion of movement as a crucial element of human
perception and experience, and unusual visual angles. The name of the
movement is derived from critic and humorist Louis Leroy writing a scathing
review in the Le Charivari newspaper in which, making wordplay with the title of
Claude Monet's “Impression, Sunrise (Impression, soleil levant),” he gave the
artists the name by which they would become known. Derisively titling his
article The Exhibition of the Impressionists, Leroy declared that Monet's
painting was at most, a sketch, and could hardly be termed a finished work.
Famous Impressionistic Artists: Claude Monet, Vincent van Gogh, Pierre-
Auguste Renior, Edgar Degas, Mary Cassatt

Fauvism
Following on the heels of the dramatic changes wrought by Impressionists and
post-Impressionists, the short-lived and loosely-defined fauvist movement of
the first decade of the 1900s emphasized further abstraction of form and, in
particular, color, with strident brush work and non-representative color. The
name “fauvism” is derived from the French word “fauve,” which translates
literally to “wild beast.” Henri Matisse was among its most well-known
proponents.
Famous Fauves: Henri Matisse, André Derain, Paul Cézanne, Paul Gauguin
 PARK WEST GALLERY | TRAINING PREPARATION

Cubism
Cubism was a 20th century avant-garde art movement, pioneered by Picasso
and Braque, that revolutionized European painting and sculpture, and inspired
related movements in music and literature. It was a ‘cataclysmic’ movement,
which embraced the ideas of Cezanne, introduced a generation earlier, and
created a new completely radical concept of painting, perception and the
depiction of pictorial space. In cubist artworks, objects are broken up, analyzed,
and re-assembled in an abstracted form—instead of depicting objects from one
viewpoint, the artist depicts the subject from a multiplicity of viewpoints
simultaneously. In a Cubist image the entire perceptual experience of a
particular subject is interpreted into the two dimensional surface of a painting,
drawing or print whereby surfaces often intersect at seemingly random angles,
removing a coherent sense of depth.

Famous Cubists: Pablo Picasso, Georges Braque

Expressionism
Following the path of earlier modernists, Expressionism took the Fauvist delight
in dissonant colors further away from representation into a world of sometimes
barely recognizable distortions of form and subject, meant to primarily to
express the artist’s inner vision rather than the subject’s outward appearance.
The movement was advanced primarily in Germany in the first two decades of
the 20th century, although the term is sometimes used more broadly. Marc
Chagall can be described as an expressionist artist, though he drew on aspects
of many different styles.
Famous Expressionists: Edvard Munch, Wassily Kandinsky

Surrealism
Surrealism is a cultural movement that began in the early 1920s, and is best
known for the visual artworks and writings of the group members. Surrealism
coincided with the ‘discovery’ of the subconscious mind by innovative
psychiatrists and theoreticians, such as Karl Jung and Sigmund Freud. Two
distinct forms of surrealism – figurative and abstract – gained prominence in the
1920s, 30s and 40s. Both forms attempted to capture the workings of the mind
and of dreams. Leader Andre Breton was explicit in his assertion that Surrealism
was above all a revolutionary movement.
Surrealist works feature the element of surprise, unexpected juxtapositions and
non sequitur; however, many Surrealist artists and writers regard their work as
an expression of the philosophical movement first and foremost, with the works
being an artifact. Figurative Surrealists like Dali and Magritte rejected recent
developments in abstraction and created highly detailed depictions of dream-
like scenes. Abstract Surrealists like Joan Miró employed more symbolic forms
further divorced from conscious reality. Dalí and Magritte created the most
 PARK WEST GALLERY | TRAINING PREPARATION

widely recognized images of the movement. Dalí joined the group in 1929, and
participated in the rapid establishment of the visual style between 1930 and
1935. There is no clear consensus about the end, or if there was an end, to the
Surrealist movement. Some art historians suggest that World War II effectively
disbanded the movement. However, art historian Sarane Alexandrian (1970)
states, "the death of André Breton in 1966 marked the end of Surrealism as an
organized movement." There have also been attempts to tie the obituary of the
movement to the 1989 death of Salvador Dalí.

Abstract Expressionism
Following important intervening movements like Futurism, Constructivism,
Dada, and Suprematism in the first few decades of the 20th century, Abstract
Expressionism was the first primarily American modernist movement (although
the term has been used to describe related earlier works from European artists).
Abstract Expressionist artists like Jackson Pollock and Willem de Kooning
created wholly non-representational works that captured the physical act of
painting and the individual unconscious.
Op Art
Short for “optical art,” artworks in this movement capitalize on the
idiosyncrasies of human vision. The works often utilize geometrically precise
patterns to create unusual visual effects, making the viewer a key component of
the work.
Famous Op Artists: Yaacov Agam, Victor Vasarely

Pop Art
Considered by some to be the first “post-modern” art, Pop Art embraced
popular culture and advertising, rejecting the division between critically
esteemed “fine art” and the “lower” art forms of commercial and comic art.
Principal artists included Andy Warhol, and Roy Lichtenstein. Pop art is a
visual art movement that emerged in the mid 1950s in Britain and in the late
1950s in the United States, although its greatest proponents were American
artists. Pop art challenged artistic tradition by asserting that an artist's use of
the mass-produced visual commodities of popular culture is appropriate
within the perspective of fine art, and through the appropriation of these
images and transformation of them into “high art,” their meaning and
reflections on contemporary culture can be revealing. Pop removes the
material from its context and isolates the object, or combines it with other
objects, for contemplation. The concept of pop art refers not as much to the
art itself as to the attitudes that led to it. Warhol’s artwork reflected his attitudes on American post-war
culture, stating, “What’s great about this country is that America started the tradition where the richest
consumers buy essentially the same thing as the poorest… No amount of money can get you a better
Coke than the one the bum on the corner is drinking.” Pop art often takes as its imagery that which is
currently in use in advertising. Product labeling and logos figure prominently in the imagery chosen by
pop artists. Consider the Campbell's Soup Cans labels, by Andy Warhol. Even the labeling on the
 PARK WEST GALLERY | TRAINING PREPARATION

shipping carton containing retail items has been used as subject matter in pop art.

PRESENTATION PREPARATION
Crafting Your Presentations
A large part of your success at training and on the ships hinges upon delivering excellent
presentations. Whether you are talking about one of the Park West artists, an art movement, or the
gallery, you need to deliver your information in a way that is interesting and appealing. Remember,
cruisers are on vacation, and the last thing they want to do is sit through a boring presentation!

Here are some basic guidelines on what your short presentation should include:

1. Introductory “wow” statement

2. Accolades or honors bestowed upon the artist
3. Description of aesthetic style
4. Biographical points
5. Concluding statement with call to action

Using this format, an example of a short presentation would be this:

“Thomas Kinkade’s works are in more American homes than any other artist, and looking at his
work it’s easy to see why. He is known as “The Painter of Light,” as he uses techniques
borrowed from the Luminists of the 19th century. Many of our collectors love Kinkade’s works
because of the way his art reflects light – looking brighter in the daylight, and more subdued at
night.
Kinkade was also a family man, hiding “love notes” within his works in the form of the letter “N,”
representing the name of his childhood sweetheart and wife, Nanette.
On top of being more collected than any other artist in America, he was also selected to
commemorate the 2002 Salt Lake City Olympics as well as the 2002 World Series.
If you’re looking for an award-winning and widely collected artist whose work will turn your
house into a home, Thomas Kinkade is the artist you need to collect today!”
For longer presentations, simply include more examples of points 2, 3, and 4.

The tips outlined above will help you in crafting a basic presentation about each artist, which you will be
expected to do in training. However, as your knowledge about the artists and the program deepens, it
will be important to continue to work on your presentations and make them as interesting and
compelling as possible.

Taking your Presentations to the Next Level

The first step in connecting with a guest or client is getting them interested in what you have to say. This
usually entails an initial presentation that will whet their appetite for more information. Interest
generation is one of the most important types of presentations you can make. Get it wrong, and there
probably won't be another opportunity to make any other presentations.
 PARK WEST GALLERY | TRAINING PREPARATION

Your presentation is your shop window. Potential clients look at it and make decisions about who you
are, what you do, and whether they want to deal with you – based on the impression your presentation
makes.
The question a potential client is trying to answer (but probably won't verbalize) is: "What's in this for me?"
So what should the presenter do? Tell them why they should care!
A great question to ask, "So what?" to every fact, point, or picture in your presentation. If it isn't there
to support value to the client, then remove it.
Tips on how to make a killer presentation:

• Tailor your personality to appeal to the audience

• Be entertaining. A little humor goes a long way!
• S l o w d o w n, especially when you want to emphasize certain points
• Make eye contact (2-3 seconds per person – quickly scanning a room is not engaging!)
• Speak in bite-sized chunks
• Vary your intonation and speed and place special verbal emphasis on key words and points
• Use the dramatic pause for extra effect
• Afford repetitive filler words such as: “like,” right,” “umh uhh,” “you know,” “ok?”
• When talking about art, always use the phrase “WORK OF ART” – not ‘piece of work’ – take the
word ‘piece’ out of your vocabulary!
• Tell a compelling story, but keep it succinct
• Practice, practice, practice! That’s how you gain confidence
• Don’t rely on technology or bells & whistles
• Don’t have anything in your hands while you present
• Remain rooted on the stage with feet shoulder length apart; do not pace around stage
• Focus on presenting key messages with clarity
• Always include the most important and compelling points on an artist
• Include lots of takeaways & interesting or “fun” facts
• Have fun!

WELCOME ABOARD SPEECH

You will have an opportunity to make a brief presentation at various events around your ship regarding
the art auction. This is your chance to make a presentation (i.e. the Welcome Aboard Talk) in front of
the entire ship’s audience marketing the auctions as well as yourself. This presentation is intended to
create awareness and get the audience excited about the upcoming auction. You will only have about 1-
2 minutes to make an impression on the audience, so enthusiasm is imperative!

Memorize the following speech as you will present this at training:

Good evening ladies and gentlemen! Are you ready for the cruise of a lifetime?! My name is
_________________ and I am your Art Auctioneer representing Park West Gallery, one of the largest
art dealers in the world.
 PARK WEST GALLERY | TRAINING PREPARATION

I’m here to tell you about the most exciting event happening on board the ship. Tomorrow afternoon
at 12 o’clock, you’re all invited to attend the live art auction in the International Lounge.

We have a phenomenal collection onboard including everything from Thomas Kinkade, to Peter Max,
to Picasso, to animation artwork, to sports memorabilia and much, much more! We’re also going to be
giving away LOADS of free artwork and prizes!

Tomorrow at 12 o’clock at the International Lounge, we’ll have FREE champagne, FREE raffles and
each and every person who attends the auction will receive a FREE work of art…just for attending!

And you don’t have to worry about taking the artwork with you, because most of the artwork can be
shipped to your door almost anywhere in the world! So whether or not you have a wall or an entire
house to fill with some amazing artwork, or you are looking for a gift for someone special, we have
something for everyone!

Don’t miss this EXCITING event! Make sure to arrive early, because the auction room will be packed!
Join me tomorrow at the International Lounge at 12 o’clock! Enjoy your cruise and I’ll see you there!

ADDITIONAL RESOURCES
For additional art definitions, you may reference the following Glossary of Art Terms on the
MoMA website: http://www.moma.org/learn/moma_learning/glossary
Provenance
Provenance is the history of ownership of an artwork. This is extremely important in art, as it’s
essentially one way to prove your artwork is legitimate. A free Certificate of Authenticity accompanies
every work of art Park West sells and raffles. The vast majority of artwork we offer comes directly from
the artists themselves, giving our clients the opportunity to collect works with perfect provenance.
Furthermore, our collecting experiences that involve our world-class artists provide our clients with
photos, stories, and other forms of authenticity that few other galleries can match!

Numbering and Signing

In each graphic medium a limited number of impressions are pulled from the plates, stones, blocks, or
screens. Each impression is inspected by the artist and, if it is up to their standard, it becomes part of
the edition and is eventually numbered. The matrix is then defaced or destroyed to ensure that the
limited edition stays limited.

The numbering is displayed as a fraction, with the bottom number indicating the number of impressions
pulled (not including proofs), and the top number indicating the “serial” or identification number of that
individual impression.

There is some misunderstanding on the significance of the numbering. It is sometimes assumed that the
lower the top number, the more valuable the work. As an example, a client will request to have
impression 1/250 rather than impression 200/250. This is a common misconception. The top number
is irrelevant in value determination, as it is just a number. Additionally, the artist typically numbers as
he or she signs the works, which is not necessarily associated with the order in which it was created.
 PARK WEST GALLERY | TRAINING PREPARATION

The bottom number is the one that may influence the edition’s “value” because a smaller edition is
more exclusive than a larger edition. Works from smaller edition may fetch higher prices, because there
are less available.

Types of Proofs
Artist Proof (AP) or Epreuve d’Artiste (EA) European “Artist Proof”
An artist proof is one outside the regular edition but pulled from the same plates, blocks, stones,
or screens without changes. The artist retains the AP’s for his/her own personal use or sale,
though they are sometimes released to the public.
Printer’s Proof (PP)
Proof reserved for the printer and collaborators; may be released to the market.
Hors Commerce (HC) French “Before Trade”
A proof typically reserved for the publisher; may be released to the market.
Bon a Tirer (BAT)
When the artist is satisfied with the impression from the finished plate, he/she works with the
assistant to pull several perfect examples and they are marked Bon A Tirer (Good to Pull). The
assistant then compares each edition impression with the BAT before being submitted to the
artist for approval and signing.