New Award in honor of Paul Jeynes

Paul Jeynes image for AAA's Newsletter   (1).jpg

Paul Jeynes

April 19, 1927 – July 3, 2017

Allied Artists of America supported and encouraged Paul’s decision to become an artist when he was in his late 40s – and his membership and the awards he received at its Annual Exhibitions enhanced his credentials as a sculptor of wild and endangered animals and wildlife. It was because of these happy memories that, in his Last Will, Paul made a bequest of a $500.00  to establish the award "The Mary Kay and Paul Jeynes Memorial Award for an Animal Bronze Sculpture"  to be presented at the Allied Artists’ Annual Exhibitions, with the hope that they will also encourage and benefit others who sculpt animals.  

It was in the early 1980s, a few years after Paul had begun sculpting, when he became a member of Allied Artists - and soon afterwards he received prestigious awards at its Annual Exhibitions: 

Leonard J. Meiselman Award (1984)

Gold Medal of Honor (1985)

Eliot Lisken Memorial Award (1988)

Pietro and Alfrieda Montana Award  (1991

After receiving the last award, Paul decided not to enter future Annual Exhibitions, thereby eliminating his sculptures from competition so that others would be rewarded for their artistic abilities. 

And in 1990, Allied Artists recognized Paul’s capabilities again by inviting him to participate in its Jury of Awards for the 77th Annual Exhibition, and Paul was thrilled to be included in this esteemed group. 

Paul always appreciated AAA’s early recognition of his creativity and its confidence in his professional skills, when he needed it the most, and he faithfully continued his membership in Allied Artist throughout his lifetime. 

About Paul: 

Paul’s essence was sensitivity and creativity - and he considered himself a practical idealist. His many achievements, throughout his lifetime are notable, but his artistic success is remarkable given his lack of formal education or training except for some brief lessons in the basic techniques of sculpting by Frank Eliscu (Heisman Football Trophy). Basically Paul was self-taught as both a sculptor and painter – and he was red-green colorblind, which is why he first choose to sculpt rather than paint. Paul’s sculptures captured each animal’s beauty and grace – and his paintings’ rich colors continue to charm and delight. 

Paul always wanted to be an artist. 

As a child, he enjoyed designing and building model airplanes that actually flew high and far and he wrote and illustrated science fiction and scary adventure stories. In junior and senior high, Paul’s cartoons were published in the school’s newspaper and his plays were acted by his classmates and applauded by their parents. As an undergraduate, Paul’s cartoons and humorous stories were regularly featured in the then nationally acclaimed Yale Record – and Life magazine selected and published one of his cartoons as the Best Cartoon Drawn By a College Student. And during his junior and senior years, Paul was elected to the prestigious position, Art Editor for the Yale Record. In addition, he was active in extra-curricular activities: he had a late-night radio show, a popular eight-piece band, “Sons of the Pioneers,” and he conceived of and wrote what became a popular newspaper for Silliman College where he lived on campus.

All this creative talent, and yet Paul’s parents neither encouraged nor supported his desire to be an artist. So Paul tried to follow his father’s footsteps and majored in engineering - but that didn’t work and he switched to sociology and psychology (he called them “gut” majors and took them to graduate). After college Paul moved to NYC, and in the early 1950s, he began what became successful careers in advertising and marketing (groundbreaking professions at that time) – and because of his creativity and sensitivity to the marketplace, he was promoted to Director of Marketing at top NY corporations. During this time, Paul’s advertisements won awards from the industry’s professional organizations, and he created products that continue to be successful today: Marlboro Man, Contact, NyQuil, L’eggs, Porcelana.  But Paul hated the competiveness and politics of business and in the early 1970s, he quit “cold turkey” to finally pursue his childhood dream of becoming an artist. 

After experimenting with different media, Paul decided to use wax and sculpt rare and endangered animals and he quickly found his “style,” and created sculptures that captured the spirit and charisma of each animal rather than the detail of its appearance. His success was immediate: six major awards, 27 commissions, a monument, 43 exhibitions in the U.S. and London, repeated listings in both Who’s Who in American Art and Dictionary of American Sculptors - plus numerous sales. 

When preparing for a galley showing, Paul described his artistic goal in this way: “There’s a sense of elegance I want you to feel. That’s why my style is different and personal. Roger Caras (a collector and TV Network personality, author, past president of ASPCA) once told me, ‘People want to reach out and touch your sculpture.’ Saying it another way, I want my animals to reach out and touch you. If they do it, then you can share the magic. And that’s what it’s all about!”

And that’s exactly why Paul was so successful with his creatively: he always reached out to involve the other person. 

Paul’s integrity and practical idealism was integrated in everything he did, and he took great pleasure using his creative and communication abilities to help young gifted artists and influence change in the art world. Some examples:

In the late 1970s Paul conceived of a publication that would give practical advice to sculptors. He designed its logo and format, researched and wrote its content, and supervised the production of a quarterly newsletter he named The Artist’s Foundry. It was immediately popular with the sculptors at Modern Art Foundry (where his wax models were cast into bronze) because of its informative useful content, i.e. copyrights, insurance, shipping, commissions, contracts, bills of sale, foundry tips, working with galleries, legal issues (protecting sculpture against unauthorized reproductions/multiples, royalties on resale, copyrights). Very quickly word spread nationally as other sculptors, gallery owners, curators, art groups and schools heard about this new publication and wanted copies of their own. Even the Smithsonian collected The Artists Foundry for its files. 

In 1978 Paul conceived of and implemented a Student Awards Program (SAP) to encourage, recognize and reward gifted high school and college sculptors. He promoted SPA in The Artist’s Foundry and received hundreds of entries from all over the nation. The judges were impressive (Linda Benglis, Will Horwill, Ruben Kadish James Rosati, Tony Smith) as were the prizes for 16 winners (Modern Art Foundry cast their sculptures free of charge and they were exhibited in NYC’s prestigious Kennedy Art Gallery; and the top two National Winners participated in the foundry’s summer internship program).

In the mid 1970s when the art market and prices of original art began to soar, so did sales of unauthorized unlimited reproductions of paintings and sculpture. Paul learned about and fought against this unscrupulous practice by first explaining, in The Artist’s Foundry, that there was no law defining “limited editions” of original art - and the need for an organization that guaranteed high standards for ethically reproducing sculpture. Soon Paul was the force behind organizing and establishing the Art Founder’s Guild of America (AFGA) (incorporated as a non-profit organization in 1981). Foundry owners who joined AFGA agreed to document every sculpture cast using a Certificate of Metal Casting that included the name of the artist and foundry where the sculpture was cast, the date it was created, its title, dimensions, edition number or one-of-a-kind, the medium/process used making it - and to kept the Certificate in its files and file a copy with AFGA, thus establishing a national registry. By 1989 AFGA was endorsed by all the important sculpture and art societies worldwide.

In 1978 and 1979 Paul continued to speak at public hearings in Albany for legislation that defined “limited editions” and to alert consumers of the pitfalls of buying “original” art produced in numerous quantities.

In 1980, he explained again, in The Artist’s Foundry, the myth of “limited editions” for original art and how commercial enterprises continued to use slick advertising to exploit uninformed art enthusiasts by encouraging them to buy worthless reproductions as “collectables.” And in 1981 Paul spoke at another public hearing, and this time he used the 1959 U.S. Custom Law’s criteria (up to 10 bronze castings are accepted as “originals” for duty-free import) to define and restrict “limited editions” of sculpture. And then he explained the AFGA’s purpose to the NY State legislators, and told them how foundries throughout America had joined the AFGA and were already documenting every sculpture cast and limiting its reproductions to 10 pieces plus one artist’s proof, authorized by the artist.

Finally, in 1991 NY State passed a law that required full disclosure and documentation of sculpture as part of its sale – a law that mirrored AFGA’s purpose. Also in 1991, France took action to control casting, reproducing, and selling unauthorized sculptures by establishing The Syndicate General des Fondeurs de France, using standards similar to AFGA’s.

In all, Paul wrote 30 editions of The Artist Foundry from 1978 – 2000 while sculpting wildlife.

In 2001 Paul began painting imaginary scenes of the Gilded Age; his paintings were also successfully exhibited and sold. And in 2006 he also painted scenes from his childhood memoires (1930s and 1940s).

Throughout his 45 years as a sculptor and painter, Paul thrived in his artistic pursuits. He had realized his childhood dream and had become an artist; he was happy and fulfilled. He was also proud of his contributions towards achieving the “ideal art-world” he felt artists should have. And yet, for all the time and energy he invested in his idealistic vision, Paul remained behind the scenes; he was satisfied to be a catalyst for change. He didn’t expect recognition or reward for his accomplishments; they were the satisfying end-result of his idealism and sense of fair play. That was the only reward Paul needed – and wanted.