Although I like a lot of contemporary art, there's also a lot I don't "get." My taste in visual art is not, to my mind, very sophisticated, but I do know what I like. I have a strong reactive orientation. Historical art appeals to me more and more as I age. In the pieces I like, I see the history of religion, politics and art technique as well as biography, anthropology, and mythology. There is so much to see in each piece of the collections of museums such as the Uffizi, Louvre, Hermitage, National Gallery, Vatican and the like. I wish we had more access to touring exhibitions of historical work.

Contemporary artists whose work I "discover" during visits to local exhibitions sometimes satisfy my taste for the classical in visual art. In the past year I have met two young artists whose work I particularly admire. In each case, I have contacted the artist and played a role in advancing their careers. The experience has been satisfying for both the artist and me, and in one case, a friendship has developed. I feel I will be forever aligned to the career of this young man. I foresee great things for him.

He is a graduate of a visual art training program. His teachers pushed him to be more contemporary in his technique, but he was resolute in his determination to stick to the style he prefers. In one of his conversations he happened to say to me that he "learned more from the Gamblin website than he did in his painting courses." I took note of what he said because I had met Robert and Martha Gamblin during the time I worked at Opus in the marketing department. The Gamblins are outstanding people with whom I immediately established warm relations. They are passionate people, as committed to artists and education as they are to their business of making the best oil paints.

Robert has been recognized by the USA's Smithsonian Institution for his expertise. The conservators at the Institution collected small samples, about three hundred milliliters each, of 150 historical pigments, including lapis lazuli, azurite, verdigris, realgar, and vermillion, and sent them to the Gamblins. After consulting and studying a number of historical resources, the Gamblins ground them in oil with the correct pigment-to-oil ratio on small, metal-roller mills. The resulting paints will be used in the conservation laboratory of the Institute.

Because of what my young artist friend had said, I attended a workshop by Robert Gamblin that Opus sponsored in April of this year. Although I am not a painter and uneducated in painting technique, I found his lecture fascinating. My understanding was greatly assisted by his brochures entitled "Artist Oil Colors" and "Oil Painting Mediums." His brochures are excellently designed, helping you to retain the rich information presented in his workshop. And an even greater resource is the Gamblin website (www.gamblincolors.com). By clicking on "Painting Secrets Revealed" on the home page, you will be delivered to a page where you can click on three topics that cover the material in the workshop I attended. They are "Artists Materials Descriptions and Technical Data," "Painting Techniques and Palettes," and "Working with Oil Painting Mediums."

Every artist interested in creating the depth of field of classical paintings should visit this site. My young artist friend was right. There is a lot of valuable, insightful information on this site that is a testament to Robert and Martha's research and experimentation over the years.

As many readers of this newsletter know, I moderate an internet artists' Listserv called dear_emily, and I like to share with you some of the interesting discussions that occur on this e-forum. Recently an artist wrote the following e-mail to the Listserv:

"Recently I received notice from (Prince George) City Hall indicating I require a business license. My studio is in my condo but 90% of my sales are made outside of my residence at exhibitions etc., so I have never given any thought to obtaining a business license. Some person in my condo complex turned one of my business cards into City Hall and the Licensing Dept. followed up on it.

"I called City Hall and asked why I require a license and was told that if I'm making a product in my home and selling it, I require a license. I asked if this bylaw included little old ladies who knit sweaters for Christmas craft shows and was told, "Yes".

"I know that there are hundreds of crafts people and several artists in town and I seriously doubt that any one of them have a business license although they sell their wares whenever and wherever they can.

"Has anyone faced this problem and if so how did you handle it? The obvious solution is to pay the Municipality $60 annually and shut up but I'd rather not do either. Any advice or ideas?"

One artist replied to this posting saying, "Your dilemma was one of the reasons I took my street address off of my website and my business cards though I don't know for sure if they are sticklers about that here in Vancouver."

Another wise respondent wrote the following: "The other thing to keep in mind is that one of the risks artists constantly face is Revenue Canada coming and saying you are not really a professional and/or not really a business, etc. etc. etc. (This is very important to think about if you are claiming deductions as a self-employed artist.) Producing a business license from your municipality to the tune of $60.00, establishes your business status and given everything that Revenue Canada can do, it is probably cost effective from that perspective."

If you are claiming expenses on your tax return for doing business as an artist out of your home, or if you are selling out of your home, this is an issue that should be of concern to you. The second respondent is probably right. Buying a business license could be a very valuable tool as part of your defense should you ever be audited (as I have once been).