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Linda asks what thoughts I have on the difference between a "portrait" and a "figurative" painting. How would one go about producing paintings of people that "strangers" would want to hang on their wall?

First, figure paintings are well down the priority list of gallery buyers, who much prefer landscapes and still lifes. When they do buy paintings of people, they go for narrative paintings first. Nudes are popular as are ethnic types. At the very bottom of the list are images of white men in suits. If you have a rejected portrait of a corporate board chairman laying about your studio, don't count on selling it in a gallery.

However, my gallery just sold what amounts to a portrait by any definition. Here it is.

Here it is.

That painting takes my breath away.

That is "Outstanding"! I can see that it has many elements that would make it desirable to people who didn't know her. In my opinion, this is probably one of the best paintings that I have seen on any of three forums in several years. Superb!

Thanks for answering and posting it.

Linda C.

If it succeeds, I owe it to the subject. She has a wonderful carriage doesn't she? Personally, I tend to slouch.

You're both so kind that I'm including a head close up. I haven't cleaned up the scan yet, so there are a few specks on the face and hair that are not on the painting.

My understanding of portrait vs. figurative would be this: A Portrait is done of a specific person and is intended to create a definite likeness of that person. Figurative paintings are paintings which include generic "people." Their presence is meant to give further context to the overall story. Would this painting, by Serra Santa from Argentina, be considered a seascape or figurative or both?

I would imagine that there are many versions of "figurative" paintings. It would all depend on how close one was to their subject. I would guess that types of paintings would cross over a lot. For instance some of Cassatt's paintings of people included still lifes. The painting would then be both figurative and still life. I guess that a close up painting of an individual could be both portrait and figurative, depending on the eye of the beholder.

This a beautiful painting, quite aside from likeness. I'm not surprised it sold!

I have also sold portraits that were for one reason or another turned down by the commissioner, or that I just did for myself.

Isn't the answer that any portrait must first and foremost be a painting - just like a nude or a still-life?

Dear Bill,

Gorgeous piece. To me, this painting bridges the gap between portrait and figurative work - I think perhaps because there are so many timeless elements at play. For example, the mood of the painting is very powerful, serene and contemplative. The clothing and hair could be from any of several centuries; the painting has the feel that it was executed in a studio, from life, before the invention of electricity. (Yet I know you could have have done this from a photo just as believably.) Just because she isn't pouring milk from a lovely old pitcher doesn't mean I don't believe she just set it down, just out of view.

When the viewer can gaze back and become engaged in the image, as in this painting, I think its appeal becomes increasingly universal. I'd hang it in my home in a heartbeat. It doesn't matter to me who the model is; in fact, I'd probably rather not have any factual information to intercede on my response to the canvas.

Oh, BTW, what color have you used in the background? It seem on my monitor to be fairly untextured; is this so?

I would like to agree with everything that Ms. Saper just said. Well said, Chris. I am curious to know the size of this beautiful painting.

First, I'd like to thank those of you who have written nice things about the painting. I'd also like to thank those of you who may not like the painting and have refrained from telling me so. :)

Chris,

The primary background colors were based on Gamblin's Asphaltum and Gamblin's Transparent Earth Red. I'm sure there were lots of other colors in there too, but I don't remember offhand.

Photography of paintings is deceptive, of course, and really doesn't show a lot of important information for us. The background is actually full of textured paint, smooth paint, transparent passages and opaque paint. I used a knife as well as a brush. Large flat passages can be as difficult and challenging as drapery.

Mike,

I always enjoy and appreciate the things you write on this Forum. The canvas is Utrecht 66J and I carefully primed it myself; it's stretched on Utrecht heavy duty stretcher bars and attached with copper coated tacks. The size is 36" x 28".

Bill,

A glorious painting! The dress is handled like a Lord Leighton. A classic.

Peggy

What more could possibly be said about such an incredible painting!

WOW!!!!!!

Mary Reilly

William,

I just printed out the close-up of the face to pin up in my studio, to remind me of what I aspire to! Thank you for posting it and inspiring me once again.

Awesome painting!! I know you may hear this often, but I have mentioned to others how you are one of, if not the most, favorite artists I have found online.

I simply love your work. This painting only serves to strengthen my feelings concerning your art.

Again, this is awesome,
Mark

Bill,

Is this painting for sale? Have you had any offers?

May I say, she looks so real.

Rochelle,

The painting sold a few weeks ago.

Bill

Bill,

Did you use the "billion tiny paint strokes" here? After seeing that on your website in the painting demonstrations section, I wondered if you do that a lot.