Thank you for visiting our website. The Art Guild of Rural Texas is dedicated to sharing the arts with students, schools, and our community. We welcome the opportunity to meet you in person at one of our upcoming events. Please read through our information to find out how you can become a member.

We welcome artists in Texas and in the Tri-State area to come join us.The Art Guild was started back in July of 2001. Our goal is to bring art back to the community and to help inspire all of the wonderful artists of any age, living in the state area.

The Art Guild’s web site is for members and non-members who want to sell their art over the Internet. The web site will also have monthly news information on artists and events. Just last fall we put on a musical called“The Tale of the Tangy Pterodactyl Burger“, which was a complete success. We have also shined the spot light on several local artists.

Art GuildThe first Annual Spring Art Show put on by the  Art Guild, April 6th was a great success. Our site is updated regularly with new artist’s and their items they wish to sell. And we would like to thank the support team for helping us out in these harsh economic times.

We have many other ideas and events we would like to put on but we need your help. So if you are interested contact us today.

If you would like more information about us, please contact us.

Art Guild of Rural Texas | 114 North Live Oak St, Fayetteville, Texas, 78940 | 979-378-2113


Office Hours:     Tue – Sat 10am to 3pm     Sun – Mon Closed

Making Art With Some Loving Care – An Overview

I have been as of late contemplating the possibility of workmanship as being characterized by the transport of solid or explicit feeling rather than being made with basic “cherishing care.” Are these thoughts in restriction or in understanding?

There has been the contention that genuine craftsmanship ought to pass on or rouse feeling. All things considered, it was Cezanne, the dad of Modern craftsmanship, who once broadly expressed, “A masterpiece which didn’t start in feeling isn’t workmanship.”

Tolstoy took up this abstain with his book “What is Art.” In it he states, “To bring out in oneself an inclination one has once experienced, and having evoked it in oneself, at that point, by methods for developments, lines, hues, sounds, or structures communicated in words, so to transmit that believing that others may encounter a similar inclination – this is the movement of art.”1 Tolstoy endeavored to widen what craftsmanship is. He felt that the idea of craftsmanship secured a scope of human encounters that legitimately transmits a feeling from the craftsman to the crowd.

Tolstoy’s model was the narrative of a kid who has an alarming involvement in a wolf and afterward relates the story to a group of people, filling the crowd with a similar dread that he felt. For Tolstoy, this is the pith of craftsmanship. The message is clear and communicates a particular feeling. This would then appear to infer that workmanship which doesn’t inspire sentiments/feelings isn’t craftsmanship. Would this be able to be valid?

I am thinking about the Greeks who decided to mirror nature with their models

In the event that you take a gander at early Greek figure from the Archaic time, you notice the works are not loaded with feeling. The articulations are level and the positions are firm. Is this then not workmanship? Is it essentially to be ordered as specialty or relic? What of an all around developed hand tossed burl bowl? Is it so difficult to envision and depict this work as a bit of workmanship?

The equivalent could be said of a fine carefully assembled seat or a blown glass container or even a lovely scene painting. None of these things appear to pass on or express extraordinary feeling, yet nor are they just pretty articles. There is a whole other world to them than that. At the point when progressed nicely, they call to us and coax us towards a more prominent stunner that dwells inside them.

I may not feel energy or wrath, envy, love, or whatever other perceptible feeling when review such works, however my eyes do wait on the bends, surfaces, and other visual components so as to encounter their excellence.

Frequently, in doing as such, I am ready to associate with the maker of the work and experience a feeling of humankind such that I don’t when seeing other, progressively ordinary things. Regardless of a specific absence of feeling inside the work, I feel certain I am in any case encountering workmanship.

I present that for an item or thing to be called workmanship

it need not communicate a particular forceful feeling, as Tolstoy would have us accept. Or maybe, items or things that are to be viewed as craftsmanship may display two characteristics to acquire that title. That is, the nature of passing on a feeling of being done “with cherishing care” and the nature of having been finished with the purpose to make workmanship. On the off chance that the work follows such criteria, an increasingly unpretentious type of feeling is transmitted to the work.

We are on the whole acquainted with the expression, “finished with cherishing care.” It passes on a feeling of having finished an activity with consideration or focus past the conventional. It means a degree of essence, concern and craftsmanship by the individual playing out the activity that is past basically that of endeavoring to complete an undertaking.

A parent may set up a soup for the family supper. A planter may keep an eye on a bed, or an artist may cut a bit of stone, all with cherishing care. In doing as such, the human soul is transmitted through the activity and into the thing being followed up on. The reality of that transmission is that it very well may be seen and experienced by the individuals who happen upon the completed work.

The soup contains a delightful quality and excellence that is appreciated by the family. The nursery gets a serene angle to it, and the vegetables develop well. The model holds inside it a feeling of structure, surface, and line that the look waits upon and calls to the watcher to draw in it.

Obviously, cooking a soup or cultivating isn’t equivalent to making a bit of workmanship

One may state the soup tastes awesome or the nursery is extremely pretty, yet one would not, by and large, state that either are show-stoppers (in spite of the fact that I don’t decide out that either could be viewed as craftsmanship under the correct conditions).

This is the place expectation becomes possibly the most important factor. Aim is the craving and reason in making a masterpiece, or rather to cause something that to can remain solitary as a delightful creation. It is the conscious moves made to make craftsmanship.

For instance, a wood carver while making a bowl plans to make a delightful bowl and to make it with as much excellence as he is capable.

The carver shapes the bowl and beautifies it with adoring consideration alongside the goal of making a work that can remain solitary as a wonderful article. In this manner, when we see the completed work, our eyes wait on it, and we feel a feeling of prosperity in doing as such. We identify with the bowl past its utilitarian reason and consider it to be craftsmanship. We can detect the craftsman’s caring consideration and his aim.

This leads back to Cezanne’s announcement

“A gem that doesn’t start in feeling isn’t craftsmanship.” What does it intend to both make a work with adoring consideration just as with the goal to make workmanship? Is that not the declaration of feeling? The expression, “with adoring consideration,” accept that affection is a piece of the action, and love, all things considered, is surely a feeling in addition to other things.

A craftsman may have love for his materials or his subject. He may find that, in working with his hands, he turns out to be increasingly mindful of himself or his mankind. This sort of feeling, be that as it may, is unobtrusive, and “love” right now not all that handily ordered. Love right now not equivalent to the adoration we have for a mate, nor is it the affection we have for a youngster. Nor is it the all-satisfying affection one feels from a strict point of view.

This affection is a calmer feeling. Maybe the most ideal approach to depict it is as the calm delight of making. The creation of workmanship regularly requires dreary developments and is an engrossing encounter. It by and large requires a quiet and keen brain. I myself feel settled when making workmanship. It turns into a tranquil and thoughtful minute in an in any case occupied day.

That peaceful euphoria, nonetheless, is feeling, and, as expressed over, the demonstration of making with this feeling of cherishing care transmits itself into the thing being made. One could then say that the Greek Kouros, the wooden bowl, the high quality seat, the jar, and the canvas did all start with feeling. In being available while working and contributing the work with cherishing care, one is working with feeling, and maybe, all things considered, it is that angle which we are reacting to when a work calls to us as craftsmanship.