The New Pre-Raphaelites: Illumination group show with Era Contemporary & the Delaware Art Museum


, , , , , , , , , , , , , ,


I have two available works that will be on display in The New Pre-Raphaelites: Illumination, curated by Kerry Dunn through Era Contemporary Gallery.  This is a huge group exhibition with over 40 artworks and 26 artists participating!

You can also listen to the podcast episode about the show or watch the video about it.

Era Contemporary Gallery is proud to announce a new partner in this year’s virtual exhibition of The New Pre-Raphaelites: Illumination!  The Delaware Museum of Art, which is home to one of the largest collections of original Pre-Raphaelite art in America, is now involved!

     The Delaware Museum of Art will be promoting the show as well as the director of the museum, Molly Giordano, spoke at the virtual opening where I have 2 of my artworks on display.

Now in its second year, “The New Pre-Raphaelites” is a group exhibition organized by Era Contemporary Gallery. This year, we add “Illumination” to inspire artists to interpret their contemporary vision of the original Pre-Raphaelites. This group exhibition includes the following artists:

Adina Yoon, Alayne Sahar, Aleksandra Katargina, Ariane Kamps, Ana Sanchez, Benjamin Shamback, Brenda Robson, Bryan Willette, Cecelia Cox, Colleen Smith, Cornelia Hernes, Courtney Scheingraber, Cristy Dunn, Danielle Rackowski, David Heshmatpour, Fred Wessel, Ilana Ellis, Jessica Libor, Jonathan MacGregor, Julianne Jonker, Kathleen Carr, Kerry Dunn, Leah Mitchell, Lisa Hendrickson, Lorenzo Narciso, Luis Alvarez Roure, Maria Christina Jimenez, Morgan Dummitt, Nancy Bea Miller, Sharon Pomales Tousey, Terra Chapman, Victoria Koursaros, and Zara Kand

Illumination has many meanings, but for this exhibition the artists interpret the word Illumination as it inspires their work. Illumination may refer to the awakening of one’s own personal insights, a spiritual transformation, or a historical reference to the illuminated manuscripts found in ancient holy texts during the Medieval Dark Ages, spanning 400-1400 BC. These ideas were also used as inspiration by the original pre-Raphaelites, a self-titled group of English artists during the mid 1800s to early 1900s that wanted to paint the natural world and heartfelt stories that included myth, legend, magic, and faith. This is the second iteration of The New Pre-Raphaelites exhibitions hosted by Era Contemporary Gallery.

Illumination in art history originally refers to the use of gold or silver leaf to embellish a page in a book, so that the words literally appear illuminated by changing light. The practice usually involved the painting in brilliant colors, elaborate designs and miniature illustrations. The work for this show may refer to the sudden burst of creativity and inspiration, a decision in life that leads to great insight, a transformative experience, and also the aesthetic choices that embrace gold leaf, and glowing, spiritual, or magical imagery.

About the curator:

The guest curator for this exhibition is Philadelphia artist Kerry Dunn. Kerry is part of a movement of new masters that has sought to reclaim the methodologies of the old masters, almost completely lost during the 20th century. This movement is in large part due to the atelier system, small studio schools each led by a master painter, that have been on the rise since the mid 90s around the world. Studio Incamminati in Philadelphia, Pennsylvania, United States, is one of these such schools; where Kerry studied between 2003–2008 with renowned portrait painter Nelson Shanks. Kerry now teaches at the school. Kerry’s work is firmly rooted in the academic traditions of painting from life as practiced by the old masters. Kerry feels most drawn to the art of portrait painting where characters are cast upon a stage and narrative is inevitable; and, the ever elusive challenge of creating a master work.

Artwork from left to right on banner image: Left, by Luis Alvarez Roure, center, by Danielle Rackowski, and right, by Adina Yoon. All pieces in the exhibition are for sale including these three. Please email for inquiries.


Take a look at the available works in the show here!

Any questions about the works, please respond to this email!
WIth light and creativity,

Jessica Libor
Visual Artist

Jessica Libor exhibiting in the ANJE at the Wausau Museum of Contemporary Art


, , , , , , , , , , , ,


I’m so excited to share with you that my 4th museum exhibit this year will be happening soon, at the Wausau Museum of Contemporary Art.  

My piece “Transformation” will be exhibited in the November 4th through December 31st 5th Annual National Juried Exhibition selected by Juror Peter Trippi, Editor in Chief at Fine Art Connoisseur Magazine, at the Wausau Museum of Contemporary Art.
    I am beyond honored and thrilled to be exhibiting in this beautiful space with some amazing artists!
“Transformation” is an original oil on canvas, 72″ x 36″ inch gallery wrapped painting that is available.  If you are interested in acquiring the original, please email me at and I can connect you to the museum.

Thank you so much for coming along this journey with me!  It is a very exciting year as I begin to show in museums and I am excited to take you along with me!

As my collectors, this means for you that every time I show in museums, the value of my art grows as my work gains more publicity and notoriety.  Every time I exhibit in museums, your investment that you have made in my career continues to grow.  Thank you to every one of you!

With light and creativity,

 Jessica Libor
Visual Artist

Jessica Libor in art show “Iridescence” at the Louisiana Art and Science Museum


, , , , , , , , , , ,

 I’m so thrilled to share with you that two of my works, “Wild Things” and “The White Deer,” have been included in the 2021 Iridescence exhibition curated by Bradley Sumrall at the Louisiana Art and Science Museum.  About Iridescence, from the museum:

“Iridescence is found throughout the natural world, on butterfly wings, fish scales, bird features, and also in man-made materials such as paint, fabric, and plastic. A captivating sight, iridescence is still being studied by scientists today who seek to further understand the interaction between light, movement, and microscopic structures that is responsible for iridescence. Similarly, artists are exploring iridescence to discover new ways to incorporate the rainbow-like phenomenon into their work. “

The shimmering colors and use of gold and silver leaf in my pieces above show an iridescent fantasia.

    This is a gorgeous exhibition and you can see the rest of the show online here!

One of my biggest desires this year and going forward is to be in more museum shows, so this was amazing to hear!

These two pieces in the museum show are available for collecting.  Please email me at if you would be interested in either piece!

With light and creativity,

Jessica Libor
Visual Artist

“Soft Sea” and “The Inn at Cape May”: new paintings


, , , , , ,

Above, Soft Sea, oil on Belgian linen mounted on panel, 8″ x 10″, by Jessica Libor. Purchase here.
Above, The Inn at Cape May, the painting on site in front of the hotel of the same name!  Cape May, NJ is known for its Victorian homes.
The Inn at Cape May, oil on panel, 11″ x 14″, by Jessica Libor. Purchase here.
Inside the Inn at Cape May
Visiting the lighthouse in Cape May

 Summer is going by swimmingly, and I am soaking up as much time outside as possible!  That means lots of plein air painting.  
    I am excited to share two new paintings that are available, Soft Sea and The Inn at Cape May.  Soft Sea is part of the new Era Contemporary Gallery group online exhibition, Summer Love!  I am thrilled to be exhibiting with such fabulous artists.  Soft Sea original is available for purchase on my website here.  I am also making hand signed, open edition prints of this piece, available to order here.

    The other new piece available is called The Inn at Cape May, and is a portrait of a hotel of the same name.  I visited Cape May with another artist friend this month and we explored the coastal town.  The Inn is a dramatic, historic presence within the Victorian beach town.  In the fall of 1894, William H. Church, a contractor and builder, of West Cape May, began work on a 60-room boarding house at the foot of Ocean Street opposite the Star Villas, one of the most delightful locations on the beachfront.  This was the Inn at Cape May. It is full of beauty and eccentricities in its design, both interior and exterior, and captured my imagination.  I am sure it has seen many things!  It is available for purchase on my website here.

  I have also re-opened my shop, new and improved!  To celebrate this, please use the code JULY to take 15% off anything  you like, code good until midnight, July 22nd.

     With love, light, and creativity,

Jessica Libor
Visual Artist

WILDLOVE exhibition for Jessica Libor to donate to Amazon reforestation!


, , , , , , , ,

Portrait of the artist by Kerasan R Lamar

     I’m thrilled to be partnering with the nonprofit One Tree Planted to help reforest the Amazon Rainforest.  A portion of all paid ticket sales and art sales for WILDLOVE will be donated to plant trees!   WILDLOVE is a collection of new paintings depicting the wildness and romance of nature present all around us, and within us.A portion of all ticket sales and artwork sales will be donated to plant hundreds of trees in the Amazon Rainforest through the nonprofit One Tree Planted, to honor and give back to our connection with nature. Each collector will receive a certificate after the show detailing what trees were planted because of their purchase!

I encourage you to register for the exhibition by clicking here!

Can’t wait to see you there.

With love, light and creativity,

Jessica Libor
Visual Artist

Portrait of the Artist by Kerasan R. Lamar

How to elevate your artwork


, , , , , ,

    When you get to a certain point in your career, you want to elevate your work. What are some ways that you can do this without having to rely on anyone else?

How can you elevate your work on your own? Is it possible? 

Absolutely. Here are a few of my tips to elevate your work.

1.  Context is everything! You should have a professional website with a white background and modern, simple fonts that mimics the look of a gallery. You don’t want anything distracting from your beautiful work! Get rid of any old work on your website, distracting logos, or “fancy” colors! Coco Chanel said it best: “Simplicity is the keynote of all true elegance.”  

2. Take anything that you aren’t really proud of out of your résumé. You just want to put your best foot forward. If you’ve been published in any press or one any awards those things should also be front and center! When exhibit in your work in public, make sure it is aligned with a gallery or institution that you are proud to be a part of. Also, when you go to the opening, always have your business cards on hand so that you can make connections with people who would possibly by your work. You could even schedule a studio visit with people who like your painting! 

3.  Do a social media audit. This is especially true for Instagram, go through your feed and delete anything that you are not extremely proud of. There’s also the option to archive the post so that you can still have it for later but it makes it private. Do you want a seamless, professional experience sprinkle through with some of your personal moments in the studio and inspiration!

4.  Aggressively apply to opportunities. When you make time each week to apply to, say, five opportunities, some of those opportunities are bound to work out! I definitely suggest entering exhibitions in your area and even throughout the country as you build your art career.  You can find these opportunities at sites like

5.  A very important thing to do is to take great photographs. You need to be able to document your work so that you’re able to have it for your own records, as well as make prints of it of a very high-quality if you would like to down the line. If you sell the piece, then you don’t want to be in a situation when all you have is an iPhone photo! You can buy or rent a good camera, hire an art photographer, OR  take your pieces to be scanned at a printer!

6. Continue to improve your work and increase your consistency in quality and presentation. Do you want to be known for a recognizable style and theme. If this is a challenge for you you may consider my affordable course that targets this, Discovering Your Artistic Voice.

7. Revisit your artist statement, and rewrite it if necessary! Make sure it reflects the current body of work that you are working on and then it is clear and powerful.

These are just a few suggestions that you can use to start up leveling your online and in person artistic presence in the art world! The main idea is to elevate everything that your artwork touches… Make sure the way you document your work, present it, and talk about it reflect your love and honor for the work that you are presenting.

These are just a few suggestions that you can use to start up leveling your online and in person artistic presence in the art world! The main idea is to elevate everything that your artwork touches… Make sure the way you document your work, present it, and talk about it reflect your love and honor for the work that you are presenting.

Have a wonderful week!

With love, light and creativity,
Jessica Libor

Jessica Libor in the Times Herald


, , , , , ,


I’m honored that my work has been featured recently in the March 11 issue of the Times Herald!  I also wanted to encourage you that if you are an artist,  YOU TOO can start to get press for your artwork.  To start to get press, I like to guide artists to:

1. Proactively seek out press by cultivating relationships with publications and writers
2. Determine what you would like to get press for– an event, an exhibit, or a topic
3. Gather together into a press release for your news worthy topic, including pictures of your pieces, you, and your angle on the topic.
4. Address your press release to individual writers at the news outlets you’d like to be featured in!
5. Follow up twice.

In the comprehensive course I am creating for contemporary realist feminine artist, the Luminary Artist Academy, we go deep into this and the details of each step.  To sign up for the waitlist, click here.

And now, the article from the Times Herald!
Since it’s a little hard to read the scans, here is the article:

Artists found creative outlets and frustration during pandemic

By M. English

For MediaNews Group

PLYMOUTH >> As they look back from the one-year mark, local artists say COVID- 19 has affected their work in a variety of ways.

Plymouth Meeting painter Susannah Hart Thomer says art has allowed her to focus on “something positive and wonderful during this terrible time.”

“For me…it fills the time with the happiness and luxury of creating, developing and spending hours of time sitting on the floor doing my watercolor paintings…,” Thomer says. “Even if I…don’t quite like the way the painting’s developing, it doesn’t matter. I just start over. It’s a delight to go into my studio in the morning and be surrounded by art (and) discuss my paintings with friends by emailing my work to get their knowledgeable views and opinions of it.”

Ambler’s Lynn Hoffmann has found “more time to reflect” and experiment with new techniques and materials in her Hand and Wheel Pottery studio. For example, “materials other than clay to make larger outdoor sculptures that don’t require clay or a kiln.”

“It really has been kind of nice to think and dream way out of my normal box but sad to not see others as much in the beginning,” Hoffmann says. “After I experiment with new things, I bring them to my students, who love seeing new things. (It) feels really good to be so open to new ideas and let possibilities enter into existence. For me, nothing is worse than repeating the same things over and over. I love to experiment and learn.”

Despite her cheerful outlook, Thomer acknowledged “the seeming foreverness” of the pandemic, and others shared parallel sentiments.

Conshohocken Ar t League’s Eileen McDonnell recalls a quick visit to CAL’s studio at Mary Wood Park House last November as “truly surreal…something out of a dystopian novel.”

“The children’s paintings were still splayed on the tables… some chairs askew, some paint containers scattered near each student’s work,” McDonnell says. “Reference books for that project were still opened. Everything was covered in a light dust, some cobwebs here and there, some new water damage cracking the ceiling, insanely quiet. It was as if some bomb had dropped and left everything in suspended animation.”

Zoom picked up some of the slack, but the format wasn’t a universal remedy for CAL’s usual in-person classes, especially live model sessions when “the lighting and three dimensional quality of working from life was distorted by the lens and arbitrary camera angle of the instructor,” the local painter says.

One positive, McDonnell notes, “the pockets of adult artist groups who now meet each week online to share their personal projects…no pressure, just sharing inspiration, contacts, techniques, material sources (and) art news.”

Initially, the pandemic stopped Whitemarsh Art Center’s Charlotte Lindley Martin in her tracks.

“March 13, 2020 – Lockdown – I stopped making art,” Martin remembers.

She returned to “the studio energized and engaged” in May when she and fellow WAC staffer Matt Courtney began making ceramic hand-building videos for online tutorials.

“We were educating from afar, and the result was our students were creating art,” Martin says. “Inspired by my granddaughter, I made videos for children. Next came live Zoom classes. Planning a weekly lesson making templates, trying out forms, finding inspiration for them, putting them on Pinterest and testing underglazes using mason stains.”

All of which increased her “knowledge base” and allowed Martin to learn “alongside my students.” As part of that: “I am gratefully using the new-found knowledge garnered by teaching and experimenting… making small sculptures, taking risks and embracing the changes. In my isolation, I am making art that is for me.”

Fellow WAC ar tist Jeanine Pennell also learned to adjust after her “entire calendar of art fairs and shows was wiped clean.”

“I had nothing to look forward to, but I knew I needed to continue to create,” Pennell says. “I decided to focus on creating a single body of work that had its own theme, sort of my own thesis… (and) set out to create a minimum of seven pieces that at some future time would be shown together. I missed travel the most, so I aimed my focus in that direction and began a series I entitled ‘Absurd Travel.’ Long stretches in the studio have afforded me the freedom to try new techniques and create larger pieces.”

Pondering the pandemic’s “impact on millions of quarantined individuals” as well as the concept of “the selfie as a self-portrait” during physical isolation inspired Greater Norristown Art League painter Jessica Libor’s stylized portraits of women.

“I was particularly inspired to do this series because of the impact on millions of quarantined individuals,” Libor says. “With nowhere to go socially, how do we as individuals still express our creative personalities through our styling? Does it still matter to get dressed up if no one will see you? How does creating a selfie with your cell phone mimic the process of creating a work of art? Many things are the same: Choosing the elements, composition, lighting, colors and subject matter.”

In the end, “in many ways, the selfie and the self-portrait are the same thing: The artist’s version of themselves that they want to reveal to the world. Through blending fantasy and reality, they can be perceived as who they aspire to be. How does creating an idealized fantasy world surrounding you create relief psychologically? Is it escapism or creativity?”

At first, GNAL’s Betz Green viewed quarantine as “an unexpected treat to be able to spend endless hours in the studio.”

“Well, that sense of euphoria lasted a couple of weeks,” Green says. “Then, reality set in. I was working in a vacuum with no museums, no art shows, no art classes, no friends. Production fell off drastically for a few months until the world slowly began to once again open up, presenting opportunities and other people. The pandemic itself does not influence my work. I do not allow it to enter my studio space or my head space when in the studio.”

I’m honored to be a part of this thoughtful article about artists during the pandemic.
     This week, I am simply continuing to work on my new art for WILDLOVE, the upcoming exhibit in May!   To register for that, click here.

Lastly, I am hosting a virtual Wine and Watercolor social instructed paint along this Sunday, and I’d love it if you joined me!  Click here or the image below to register!

Have a wonderful week  🙂
Stay well,

Jessica Libor
Visual Artist

Happy International Women’s Day! Spotlight on Elisabeth Vigee Labrun


, , , , , , , ,

Self Portrait in a Staw Hat, by Elisabeth Vigee Labrun

Happy International Women’s Day! I am so happy that there is a day to celebrate courageous and wonderful women all around the world, regardless of what stage of their life that they are in. Let’s celebrate the women in our lives who are our mothers, daughters, sisters, friends, relatives, colleagues, and creative that we look up to! For this international women’s day, I wanted to honor the women who are part of our community of the visionary artist salon! If you haven’t yet joined our Facebook group, you can do so here! We’d love to see what you’re working on, be invited to your exhibitions, and hear your struggles and triumphs.

To celebrate International Women’s Day, I like to focus on one woman a preeminent artist who was a favorite portraitist of Marie Antoinette, Elisabeth Vigée Le Brun.  Elisabeth was an independent artist, mother, wife and world traveler, as well as frequent Salon host.   Her subject matter and color palette can be classified as Rococo, but her style is aligned with the emergence of Neoclassicism. 

Marie Antoniette, by Elisabeth Vigee Labrun

She enjoyed the patronage of European aristocrats, actors, and writers, and was elected to art academies in ten cities.  As her career blossomed, Elisabeth Vigée Le Brun was granted patronage by Marie Antoinette.   She painted more than 30 portraits of the queen and her family,  leading to the common perception that she was the official portraitist of Marie Antoinette. At the Salon of 1783, Vigée Le Brun exhibited Marie-Antoinette in a Muslin Dress (1783), sometimes called Marie-Antoinette en gaulle, in which the queen chose to be shown in a simple, informal white cotton garment. 

She led a long and interesting life, escaping the French revolution when the tables turned on Marie Antoinette and making a home for herself in Russia for quite a long time before returning to her home country of France.   And accomplished artist, she was known not only for her brilliant self portraits and masterful execution Color and form, but also subtly influenced the fashion of France. She was the one who, through her own style of wearing a simple white dress with a colored sash, influence Marie Antoinette to do the same, and when her portrait was done in that style, it became all the rage as the fashionable style. 

Vigée Le Brun,  Marie-Antoinette in a Muslin Dress 

Vigée La Brun created some 660 portraits and 200 landscapes.   In addition to many works in private collections, her paintings are owned by major museums, such as the LouvreHermitage MuseumNational Gallery in London, Metropolitan Museum of Art in New York, and many other collections in continental Europe and the United States.  She lived 1755-1842.

There is a fabulous dramatized documentary on Netflix about Elisabeth you might enjoy, The Fabulous Life of Elisabeth Vigee La Brun, in honor of International Women’s Day! 

Elisabeth lived during a time in France where salons, from which the Visionary Artist’s Salon is inspired by, were just gaining popularity. You will see in the film dramatizations of the salons that Elizabeth held within her own apartments, sometimes dramatic affairs with costumes, feasts, and artists, writers, and thinkers of the day present.  The Parisian salons of the 18th century allowed women to play a positive role in the public sphere of French society. Salons provided a unique outlet where women’s ideas could be heard. Women, in addition to conversing with men at an academic level, had the power to influence the topics major philosophers studied. The cross-class communication that salons fostered also allowed social groups, which had never before interacted, to share ideas. Women’s contributions to the development of intellectual and scientific ideas through their role as salonierres marked a cultural shift in how women should be accepted and involved in society. 

Above, Madam Grande, by Elisabeth Vigee Labrun

I hope this little history lesson has inspired you and empowered you to create your own epic story if you are a female artist! Speaking of which, the luminary or the salon will be opening in a few weeks, and if you are a female contemporary realist artist, this may be the program to ship to you into a higher plan that you have been looking for. In this program, I am sharing  how to build a profitable, authentic art career while embracing your own feminine spirit.  You can get on the waitlist to learn more about it by clicking here! Thank you so much for shining bright, and happy International Women’s Day!

You’re also invited to my Sunday watercolor paint along!  Register for the event here, held from 3-5pm on Sunday, March 21. 

With love, light, and creativity,

Jessica Libor
Artistic Coach
The Visionary Artist’s Salon

The Strengths of the Feminine Artist


, , , , , , , ,

    In my last post, I talked about the challenges that a feminine artist might face as she builds her art career and life.  If you missed that, you can read it here on my blog.

    However, the feminine artist also has so many strengths and advantages!  First of all, what is a feminine artist?  We all have masculine and feminine aspects within us, but if you have predominantly feminine energy in your artwork you might feel:

1. Sensitive to your environment
2. Feel your emotions deeply
3. Make art that means a lot to you, and reflects your heart
4. Are drawn to depicting “soft” subjects in your art, like florals, fashion, love, and beauty
5. You are more drawn to being absorbed in your art and creation, and marketing, numbers and strategy is something you avoid or overwhelms you
6. What is going on in your life and the world affects you and your artwork

If that’s you, you’re in good company!   I believe the advantages outweigh the challenges of being a feminine artist.  The feminine strength is a quiet strength; like the roots of a tree, our strength is anchored in a deep well of subtle power, that eventually grows to become seen and admired, almost like a surprise.  There isn’t a lot of noise…until there is massive flowering.  So what are some of our unique gifts?

First, femininity is magnetic.  It isn’t all about pink and ruffles, either!  The essence of a feminine energy is an exquisite acceptance of herself and her work, a deep knowing of the worth of what she makes and who she is.  Think of a beautiful flower blooming in your backyard.  She is so fragrant, the colors so perfect, her petals so welcoming that the bees are naturally drawn to her.  She doesn’t have to chase them down. 

This analogy is true in all aspects of life, but if we use it for the art world, think of how an artist with something really special going on in her work is a magnet for opportunities.  She doesn’t have to chase or beg press to write her up, or show up at another person’s exhibition to try to talk to the gallery owner.   

But that flower still took action by blooming her best in a place where the bees could find her.   Likewise, feminine energy artists can blossom in their work, and let it be seen: on the internet, by sending introductory emails, by engaging in opportunities, by showing up and simply being present.  But she does so with a deep inner knowledge that her work is worthy, NOT to gain acceptance or prove anything.   She shines, and lets her work be seen, so that opportunities that are WORTHY OF HER can be magnetized to her.

Secondly, feminine artistry is deeply creative.  Of course all artists are creative, but feminine creativity especially in females is encoded in our DNA.  We are literally equipped to create souls, if not in the literal sense, then in birthing our creations. 

We have a natural propensity to lean into our creations and put our heart and soul into them.  The feminine artist’s work often is full of curved lines, unexpected textures and a beautiful, intricate look to it.  This is a mirror of her mind and heart, and the more you let open that door of freedom to your creativity, the more striking and powerful your imagery will become. 

The key is TRUST, trusting your inner psyche that you always have more depths of unexplored creativity that grows more powerful the more you use it.

Third, feminine energy is full of powerful archetypes and enduring story.  Just look at the stories and fairy tales that resonate with cultures all over the world and don’t go away, that always center on a female protagonist.  We do not always embody the princess (although I’m not gonna lie, it’s one of my favorite archetypes!) Feminine archetypes include the Queen, the Teacher, the Princess, the Angel, the Servant, the Heroine, the Crone, the Witch, the Healer, the Saint, the Virgin, the Fallen Woman, and more with almost endless variations of this. 

These archetypes are repeated in stories throughout the ages and have been embedded in our psyche.  And although none of us is just one of these things, it can be helpful to take some of the powerful stories and imagery of these characters that you identify with, and incorporate it in your business and persona as a feminine artist.

Imagine LEANING INTO the archetypes you like to strengthen your art, your luminosity in the art world, and your understanding of human behaviors around feminine lore…that persist up until modern day!  And, you get to create your own story around your archetypes.

Red Riding Hood, by Jessica Libor

By leaning into your favorite archetypes, you can create a more striking and enduring feeling around your art that will linger in the mind.

I will be digging more deeply into Archetypes in my expansive course especially made for feminine, contemporary realist artists that will be launching soon!  If you are interested in getting on the waitlist (no commitment, you’ll just be the first to be notified when it goes live!) you can click HERE.

There are so many more benefits to being a feminine artist, and I just wanted to encourage you that you are not alone; that your femininity can be your strength, if you embrace it.

Have a wonderful week!

With love, light, and creativity,

Jessica Libor
Artistic Coach
The Visionary Artist’s Salon

Most artwork used with permission from the Birmingham Museum of Art

The special challenges of the feminine artist


, , , , , , , ,


 In a few weeks, I will be opening a new course that will be my most comprehensive course yet, especially for feminine, contemporary realist artists who are ready to make the next three months a flowering and growth like never before of their artistic practice and career. This course is open to both men and women but is written for people who create in an emotional, feminine, way in their art.

 I have experienced first hand the unique challenges that feminine, empathetic people face in the art world.  Some of these setbacks are self imposed, and others are external.  Tell me, have you ever felt like this?

1. You find yourself struggling to share your work because it is so close to your heart and emotional to you.  You fear being hurt if you expose yourself.

2. You are drawn to representing pretty things, love painting fashion, romance, motherhood and other “soft” subjects, that you fear the art world will never take seriously, but that touch your heart and bring you joy.

3. You are overwhelmed with the business side of art. When it comes to taxes, keeping inventory, marketing and advertising, you would rather just go back to the studio, put on some beautiful music and get lost in your painting again.  You feel like you’re not good at that stuff. ( Or is it that you have just been socialized to believe that? )

4.  You struggle with pricing your work over a certain price point because it then crosses the threshold into making serious money.  
( Is my art worth that? What if I make more than my partner and am no longer the feminine one? What if someone tells me it’s not worth that much? What if I intimidate people? Will people laugh at me? I will no longer be a cute, approachable artist if I ask people to pay this much! )

5. You struggle with feeling like you have to choose between a traditional family or a soaring career. 

6.  You feel like you never have enough time to expand your career because you are taking care of other people and things, and have given so much of yourself in other areas.

(Above) Portrait of Fanny Eaton, be Simeon Solomon

7.  Sometimes you feel like your desire to have a great, successful career is selfish.

8.  You often damper down your femininity in life and in your art because you do not want to appear silly, especially in a male-dominated art world.

9.  Sometimes you struggle to take yourself and your ambitions seriously because you have been brought up to believe that art is not a serious profession.

10.  You feel things very deeply, whether that be your cycle each month, the fluctuations within your family or romantic relationship, and world events, all of which impact and sometimes immobilize your creativity.

If you recognize yourself in any of these things, just know that you are not alone.  I have spoken to many feminine people who have felt these unique challenges. 

  But, we ALSO have unique strengths in the art world that are invaluable, which I will be covering in my next letter!

In the meantime, if this course sounds like it is of interest to you, please join the waiting list to be kept abreast of all developments (you can join the waitlist HERE, with no commitment of any kind).

I would also love to hear from you.  What unique struggles have you faced as a feminine artist? Do these challenges resonate with you? What have I left out?

Sending you light, love, and creativity,

Jessica Libor
Artist and Artistic Coach
The Visionary Artist’s Salon

Drawings in this email are from the Birmingham Museum of Art, used with permission.