All too often I see too many of us clinging to the same artistic rocks on the side of a cliff.
The first rock as I see it, and one I have used is, ahem, "The Curse of the Barefoot Girl in the White Dress." I realize mothers love them, but before the opiate of the frilly and white clouds our thoughts, think black dress, red or navy dress! There is a stunning picture of a portrait of a child in a dark dress surrounded by red roses. I think it is on Portraits South or one of the big portrait rep sites. It is so dramatic it sticks in the mind in a positive way, which is desirable in separating ourselves from the crowds.
The next rock as I see it is happy, happy children. Look at the pensive expression on the face of Sargent's painting of "Miss Helen Sears" and imagine her turned towards you and grinning.
Rock three is never ever attempting to do a portrait from life, even if it is a friend or relative.
Rock four, slavishly copying a photo, sometimes bad color, bad lighting and all. Worse, relying on someone else's reference unless the painting is a posthumous one.
Rock five, bland and expected compositions. This is especially common in men's portraits. The lawyer's bookcases and the judge's or politician's flag. Dean Paules
www.portraitartist.com/paules did a really strong portrait of a man with an abstract painting behind him. It was so refreshing and full of verve.
Rock six, timid color. We now have the most beautiful array of paints and pigments in glorious abundance, unlike anything available in the past, yet we rely on the same tried and true color combinations. I was recently looking at the lively coloration of Milt Kobayashi. Not totally realistic, but what wonderful and unexpected use of color.
Rock seven, and this is mostly the one we are under, fear of the client. Often we never get the client out of the studio. We rarely let our imagination wander to those dangerous woods of "How wonderful this could be if ".
I am always struck at how many of the really sucessful portrait artists fought back. Sargent was quite the pugilist.
You can only paint the picture in your head, you can't see what the client is visualizing. Remember you were hired for what they saw in your work.
I realize that fear of the client and poverty go hand in hand and all too many artists struggle with the bottom line and most lose. But once in a while let go and try something you would have never thought to try, like putting your client in a green wig. Oh well.
Threaded Mode
