First Prom

[Clive Fullagar]

One other portrait. This is actually acryllic on paper. It measures 27x15 inches. It is a painting of my daughter about to go to her first prom. I have also just published a website for my paintings. Its at http://web.mac.com/clive_fullagar

It's a little crude at the moment, but I am working on it.

[Allan Rahbek]

Clive,
I like the simplicity of the shapes and values, it makes me think of Manet.
Your beautiful daughter looks happy and excited.

[Clive Fullagar]

Thank you Allan. Actually she was dead anxious - not the best state to sit for a portrait, even though it entailed just taking a few photographs. One of those moments when her stress ages her parents many more years than it does her.

[Christy Talbott]

Hi Clive,

You're daughter's portrait is so very elegant. She may have been anxious, but she looks calm and confident. I like the position of her hands holding the flower... perhaps in the way she's posing her hands it hints a bit of her anxiousness, but it is lovely.

I looked at your website too; you should be quite proud. My favorite besides this portrait of your daughter is the portrait of Maggie. Your landscapes are very impressive as well. Congratulations for it!

Christy

[Clive Fullagar]

Christy,

Thank you for your kind comments on the portrait. Maybe the anxiety was more on the part of a father watching his daughter go off on her first prom.

I do enjoy doing landscapes as a break from portraiture, but the latter is my first love. I find portraiture just that more challenging and innervating, when it goes well, and all the more frustrating when it does not.

I did return your compliment and checked in on your website. Your drawings are exquisite - especially "Mollie's Girl" and "Kate." There is a delicacy about these that is so appropriate for the subject matter.

[Steven Sweeney]

Clive,

Not to dilute this portrait thread, but you encouraged a jump over to your site and I keep going back to "West Over McDowell Creek Road," a masterful execution that immediately put me in mind of the panoramic work of Australian impressionist and national icon, Sir Arthur Streeton.

By pulling that off, you've pretty well made it clear that you're very unlikely to ever face a portrait challenge that will stump you for long. And to quote John Houseman from the old commercial, you did it the old-fashioned way -- you earned it. Those thousands of hours are apparent.

An "About the Artist" section on your site would be a great addition, especially with some comments about training and influences. In the age of Google, no one is entirely enigmatic, but Google can't get into your head (though you may have some professional observations about that, as well.)

A pleasure and inspiration to see these works.

Cheers

[Clive Fullagar]

Steven,

Thanks for your good words. I remember your astute guidance on the first posting I had on this forum, a painting of my son entitled "Captive Son." Ever since, your commentary has never failed to dispel my perception of someone with an exquisite aesthetic sense who provides such good, gentle and constructive criticism.

Of all my landscapes, I too like "McDowell Creek" the best. It is a view from a walk that my wife and I like to take over the Konza Prairie here in Manhattan. The Konza is one of the last remaining tall grass prairie areas in the United States. It is truly one of the most beautiful places to visit.

I was not familiar with Sir Arthur Streeton's work - so I googled him. Wonderful stuff. I must admit that my influences come from another Southern Hemisphere country - South Africa. I spent 18 very formative years there and have always admired Adolph Jentsch's work. Now there was an artist that could find beauty in the small things of the land.

Keep well, and if you are ever in the area of Manhattan I would willingly take you on a walk on the Konza.

[Steven Sweeney]

It was my encounter with Streeton's work, in Sydney, Melbourne and Canberra galleries, that first inspired me to have a go at painting. Curiously, though Streeton received classical academic training -- including the drawing from plaster casts and the human life work -- he always struggled with the figure and the portrait, to his frustration. I'm rather glad that he kept his eye on the landscape.

His is an engaging story, as to which I tried to do justice in a lengthy article I wrote for the Classical Realism Journal. Shortly after -- and because of -- its publication, I learned that one of my all-time favorite painters, Joe Paquet (www.joepaquet.com/available.html ), is a huge Streeton fan. I can't spot a snail mail address on your site, but if you'll email one to me, I'd be very happy to see that you get a copy of the article, as I believe that I can predict from your paintings an affinity.
[ [email protected] ]

Sorry to intrude on the thread with this -- but there is the portrait and academic-training connection, mentioned above.

[Carlos Ygoa]

Very nice work, clive.
To echo what others have said, I am taken by its simplicity and elegance, the very two qualities that I always look for in a portrait.

I also went in your site and I like your work very much. The "Doctor and her Dog" piece reminds me of old renaissance and baroque portraits wherein elements closely linked to the sitter were always included in the final work.
Congratulations!

[Enzie Shahmiri]

Clive, what a lovely portrait of your daughter! I am constantly drawn to her pretty blue eyes.