The Bis
 

The prodigal son returns and he's found religion, or should I say, its found him. At 135 cm by 85 cm, this portrait is by far the largest I've attempted. (Now I know how Sharon feels working on her huge pastels.)

The Bishop was painted on a "RealGesso" linen panel made for me by Max Howard. It's a fine surface to work on. I need to rest my hand on the surface I paint on which is why I prefer panels and linen panels. The linen surface was ideal for the thick, "painterly" handling I had in mind for this subject.

While working on the Bishop I was also painting a commissioned nude and needed to turn him against the wall because I felt his eyes on me (or perhaps the nude). I don't know how artists can work with others watching, real or imaginary.

I've attached a few close ups just to keep an eye on things...

Amazing! Thank you so much for the close ups.

Scott you are a modern Titian.
Ilaria

Wow! This is just a beautiful portrait, Scott.

The realgesso is a wonderful surface!

He has such wonderful presence. Very nice!

Scott, gosh that's beautiful. I love the way you handled the cast shadows around the mouth. The way you depict the reflective light is superb. The whole painting is knock down awesome.

Oh Joy!
 

A man in costume! How did I miss that one!

Scott, what a wonderful painting, with great presence and beautiful and subtle form. I just love the magenta!

About painting big. There are times when I want to make them into rafts and float them down the nearest river, just to be rid of them.

Just gorgeous Scott! Love the built up light, how you handled the different reds, his wrinkles... gorgeous!

Wow, this looks fantastic, great expression.

Scott, this is very intense and so fine. I love it. You have a highly distinctive style and color sense that is very much your own. Congratulations on another stunner. (I wouldn't mind seeing that hand up close, too.)

Scott, the colors in his face are so subtle and rich at the same time. How do you do it? I've read through your posts and your article in Artist's Magazine, but I'm still amazed

Jean

Thank you everyone. You are very kind. I mentioned to Ilaria that I do in fact share something with Titian: an undying love for Italian food. Unfortunately that's where the similarity ends.

Sharon, at times I was tempted to float this one down the river Maas. I work in a small studio and it was difficult to really see the thing as it was developing. Large portraits require large studios where one can constantly step back and see what's going on.

Taking photos of a work large or small is a challenge as well. Linda, Garth is attempting to improve the quality of my poor images. I'll try to include one of the hand.

Garth is not only a great artist but a genius with Photoshop as well, and was kind enough to work his magic on my Bishop image. Many thanks Garth!

Dear Scott,

Your portrait of the Bishop is magnificent! I love how the underpainting still glows through in the key of Pompeii Red. It was rewarding to work on your posted image for you. I may have learned a lesson or two from you in the process.

Garth

Just gorgeous, Scott! You have a distinctive color palette that looks to me like Venetian Red for the warm shadows and Ultramarine Violet for the cool halftones. I don't know if you use those exact pigments but with your unique use of color we can tell a Scott Bartner from a mile away.

Too bad you live so far away and we won't get to meet you at the PSA conference.

- Michele

Scott,

Congratulations with this glowing portrait. I think it made the difference with the new pictures. All in your favor. :thumbsup:

Allan

Amazing. Expression, colours, handling,...everything amazing. Congratulations.

Carlos

Thank you all!

I wish could meet you as well, particularly since the conference is being held in the Washington area, but the next best thing is seeing the photos of Cynthia's feast. I hope someone is coming to dinner equipped with digital camera.

Scott, this is excellent. Great job.

Thank you David.

What a wonderful portrait!
Mary

Sorry Mary. I didn't see your reply. Thank you. Today I will attempt to retouch varnish him. Hope I don't screw it up.

Scott,
There is nothing I can add except that, I too, am stunned by the eloquence and beauty of your work. I too, am captivated by your color palette and your subtly. Thank you for the close-ups. If you don't mind they will be printed up and placed in my reference folders for further study and inspiration!!

Whoa. This is inspiring on a number of levels. For one, as a practicing Catholic and an artist (do they make those anymore?), seeing a traditional portrait of a clergy member is heartening. It seems that the days of the Church's full support of the artist are mostly gone.

My diocese is the Archdiocese of Maine, and the Bishop's church is the one I attend, so I get to see him saying Mass often. The Cathedral of the Immaculate Conception is quite amazing insofar as the art within is concerned: Belgian stained glass roseate windows 18 feet in diameter; an Italian marble baptismal fountain 12 feet tall with a copy of Michelangelo's resurrected Christ perched impressively on top; 6000-piece-each mosaics for the Stations of the Cross - real solid stuff... but it is all quite old. Bishop Malone was only recently installed, and his "official portrait" is more like a Sears photograph. Blah. Fortunately, its in the Rectory.

But, all is not lost. I have an appointment to paint the Rector of the Cathedral - which is at my request. Partly because Fr. Jim is such an incredible guy. The other part is that if it turns out well, it may interest the Bishop.

I feel as if I'm trying to dredge up the past, but seeing your incredibly reverent and stunning portrait, Scott, I'm inspired to forge ahead in the face of modernity. The last place portraiture and representational art should lose its foothold is the place where it really thrived, and that's the Catholic church. And this isn't about religion per se, either - this is about the history of the art we hold dear.

Thank you, Scott, for your amazing work.

Thank you Patricia. You are very kind. And of course I wouldn't mind.

Rob the Catholic Church had traditionally been a provider of commissions in the region of Limburg although now a days this is not so apparent. My commission to paint the Bishop came as a result of two other portraits I had done of former seminary Rectors: purely a case of one thing leading to another, a phenomenon so important in this business. The historical aspect of such a commission appeals to me as well. It's like leaving something solid of the past behind. Thank you for your very kind remarks and best of luck with your Rector portrait.

Scott

[QUOTE=Rob Sullivan]... as a practicing Catholic and an artist (do they make those anymore?),

One resides above your post, in the redheaded Irish Catholic's avatar! I, too, enjoyed the commission I completed of the Mother Superior who laid the foundation and built the 100 year old convent I work in. Painting the portrait did give me an mystical feeling of continuity and connection with the grand history of art in the Catholic Church. Of course, I being just the church mouse artist ;) Nonetheless it was a thrill!

Looking forward to seeing your contribution, Rob. I know it will be inspirational!