Wow, Tom, I'd say that was pretty philosophic--and very nice, too. Yes, it really was a combination of forces that came together to make this event happen. It actually started out with the Estonian architects asking my brother to come over and show his film in conjunction with a modest event they were planning on our father. When they came to Philadelphia to discuss it, we got more and more ideas, and the whole idea grew into what it eventually turned out to be. So in a way we helped make it happen, or at least steered it slightly!

In relation to what you were saying about the portraits of my parents, I really do believe there is a power in portraiture that goes beyond just commissioned work. We artists can probably find lots of ways to use the power of our art over and beyond satisfying our clients. But it's really up to us.

Dear Alexandra,

I don't know how to say anything more than the wonderful responses you have already received. I can only say that I am moved to my core.

Every one of your portraits is drenched in content, and that is a goal toward which I strive. Thanks for the inspiration.

Chris, thank you so much! I am constantly inspired by your work and the work of others on this forum, so believe me, it is mutual. :sunnysmil

You're too kind Tom! I'm really moved by what's happening in this thread, and all the threads i've been reading since i joined the Forum. What i said basically is the accumulation of lingua from all the sentiments gathered since then; Alex's work here kicked off that avalanche in me.

What a powerful labor of love. It motivates me to take some better reference photos of my parents when I see them again this Christmas, for some future potential portraits....

Your painting expresses a feeling of delight -- he must have been an interesting person to know -- and his building seems to express that same delight and sense of fun, too.

What a treasure you have made, both for your family and for the recipients!

Thank you, Michele!

"Delight" is a good word to use in relation to my father. He had a playful sense of humor and a delight in each new project, in discovering the true form of each building and then building his design around that. He was the opposite of slick.

When we were in Estonia we saw many people with similar eyes and facial structure, which was interesting.

That's a great idea about getting reference photos of your parents. There's nothing more frustrating than trying to paint a loved one who has passed away and trying to work from lousy references. Better yet, we could paint our parents while they are still alive--but if there isn't enough time, at least we have the references.

Alex,
I like the way you painted your father's head. You stayed away from all the edginess that is so easy to slip into when everything is defined in a photo.
By the way, I grew up in a town where we were fortunate to have one of your father's buildings, the Kimble Art Museum. (Some of the people who attended the last Portrait Society conference in Dallas might have also taken the bus over to Fort Worth to see the portraits at the Kimble Art Museum.) The museum has a nice collection of art, but for me one of the best pieces there is the building itself. With all the restrictions placed upon an architect, its really quite an accomplishment to have the end product feel like a classic, like a part of antiquity and yet at the same time feel so thoroughly modern, even these 35 years since its completion. Its a masterpiece and he should be an inspiration for all of us.

Thanks, Steve! I saw the Kimbell Museum once in 1980, but didn't get a chance to go back during the PSA Conference in May. I was trying to pack up my painting and hightail it out of there to catch a flight. It would have been nice to see it again. I remember it very much as you described; it had a big impact on me, too. I think I probably got to know my father through his buildings as much as I did through him personally!

Alexandra, what a moving and interesting story this is, and such a painting! So strongly realized and full of life. My heartfelt congratulations!

Thank you, Linda!

I wrote a reply to you earlier but it vanished. Probably due to my pushing the wrong button.

When this painting was about 3/4 of the way along, Linda critiqued it and spotted lots of things I never would have noticed. So, thanks to her, I avoided some wierd tangent things and other undesirables. The "leave no line unbroken" law will get full attention in the portrait I'm working on now.

So thanks again, Linda, for your expert eye.