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06-01-2002, 05:27 AM

As a topic of discussion my comments are intended to describe the commonplace treatment of the business suit in portraiture. It really goes without saying that the client is responsible for selecting the theme and clothing for the commisioned portrait. What the artist does with these limitations is their strength or weakness.

I am speaking of the paper doll treatment that the business suit receives in countless portraits. There are exceptional artists who have made the most mundane elements interesting. My suggestions hint at making something more of a very dull ingredient. Even a brush stroke can accomplish this by the hand of the skilled artist.

Portraiture benefits from the individual style and unique qualities in the subject and in the artist's abilities. Sometimes it is attention to detail (leave it in/out or enhance) and awareness of things overlooked. It happens to make me uncomfortable to view a portrait with someone sitting in an awkwardly stiff and rigid posture. People do not normally sit or stand this way and I either credit or fault the artist for a remedy. The phenomenon stems from the ignorance of substructure and anatomy and should not be confused with a posture that may replicate the client with precision.

I am not suggesting we clothe executives in pajamas for my sake. I am advocating making the most of everything. By some chance we might elevate the painting to a level of art beyond cookie cutter portraiture, with regards to the business suit at least.

06-01-2002, 05:27 AM	#6
Michael Triple Guest Posts: n/a	Business suits in portraiture As a topic of discussion my comments are intended to describe the commonplace treatment of the business suit in portraiture. It really goes without saying that the client is responsible for selecting the theme and clothing for the commisioned portrait. What the artist does with these limitations is their strength or weakness. I am speaking of the paper doll treatment that the business suit receives in countless portraits. There are exceptional artists who have made the most mundane elements interesting. My suggestions hint at making something more of a very dull ingredient. Even a brush stroke can accomplish this by the hand of the skilled artist. Portraiture benefits from the individual style and unique qualities in the subject and in the artist's abilities. Sometimes it is attention to detail (leave it in/out or enhance) and awareness of things overlooked. It happens to make me uncomfortable to view a portrait with someone sitting in an awkwardly stiff and rigid posture. People do not normally sit or stand this way and I either credit or fault the artist for a remedy. The phenomenon stems from the ignorance of substructure and anatomy and should not be confused with a posture that may replicate the client with precision. I am not suggesting we clothe executives in pajamas for my sake. I am advocating making the most of everything. By some chance we might elevate the painting to a level of art beyond cookie cutter portraiture, with regards to the business suit at least.