"Repeatable" Portraits

[Allan Rahbek]

Mike,
you'r right, we should not do things that are second to photos but be more inventive.

I often admire chinese painters for their mix of traditional schooling and western realism, their expressive brushwork.

[Debra Jones]

I was thinking the same thing recently, and spoke of it to a fellow SOG member.

I went through the National Portrait Gallery on Monday while visiting DC. I was both impressed and, in a sense bolstered by the images I saw. Yes, the icons of their success were the norm, but I was thrilled at the variety, and oddly the scale of the pieces. Perhaps the paintings on display were because there is limited room and smaller works make for greater quantity, but the scale of most of the pieces I found remarkably human. Pieces that I would actually have room for in my studio to paint.

But what I was most thrilled about was the variety. The understanding of traditional technique for maximum effect was quite visible to me. I was not so daunted as I felt I might be. I also was impressed by the range of novelty of the more contemporary portraits. Christy's portrait of MacArthur, for one:
http://farm4.static.flickr.com/3228/...f635f4.jpg?v=0
amazingly loose, and NOT regal.

I was excited about the thought that we as the painter, have to have a voice. Perhaps it is why I am not a SUCCESSFUL, portrait painter, but these Sargents above, are all about Sargent. They are commentaries, not depictions. As portrait painters, it is necessary to have a voice in order to tell the story of our sitter.

That apparently frightening portrait of Eunice Shriver from the contest winner, was pretty nearly breathtaking in person. So far from the hand on the chair and stately setting, it was literally radiant. The Rockwell portrait of Nixon, the Shanks Reagan, such strong commentary in paint on the individual, but oddly quite accessible.

There was a time when I remember the controversy being to educate your audience so they could learn to appreciate you. I truly believe that as an individual, the approach to your client will always have an audience. If you can be honest and strong in your statement, you can find the people who want to be seen through your eyes.

Now, I really need to go find a cute little girl in white to paint.
dj*

[Mary Cupp]

The Royal Society of Portrait Painters of Great Britain has some portraits that are refreshingly unconventional. The British seem more willing to portray themselves in unguarded moments and in casual poses - even in the portraits of very official individuals.

http://www.therp.co.uk/

[Cecelia Cox]

Mary,

Thank you for giving us the link to this site! They really are refreshing and unique. Definitely not cookie cutter. I do think it's possible to have a beautiful, original approach to the barefoot little girl in the white dress, and I've seem many beautiful examples, but wouldn't it be wonderful if more clients were open to more original ideas? I wonder why the British seem more open to stylistic variation?

[Debra Rexroat]

Back in the late 70's and early 80's I supplemented our income by doing wedding cakes. While I could do the most wonderful original masterpieces in cake and icing, most brides were reluctant to do anything but the most basic designs that you could get from any bakery. My portfolio was full, however, of original designs and the use of unconventional flowers and colors from those weddings where I was able to convince the bride that if I was given license to use my creativity they would have a cake to remember. If it was that hard sell for a cake, which has a temporary life-span, selling the highly original portrait is likely more difficult. I think having a few examples in the portfolio are a must when trying to push the envelope on the standard.

I personally find the casual, almost candid, portraits to be the most engaging. And I have seem some wonderful ones here.

[Michael Fournier]

I many cases most artist show previous commissions and First off commissioned art often follows a repeated pattern as you do it once and the next client wants what they see in the previous painting. In some way no surprises is what most clients want. But also the client that would allow you to paint a large scale painting in which the subject is such a small part of the over all composition such as Sartgent's Daughters of Edward Darley Boit. Are very rare clients. (this painting is 7ft x 7ft not many clients even have space for a painting that big)

Due to the cost,and size restraints of most peoples houses most of my commissions have been head and shoulder only and most about 18x24in I have done only one full length commissioned portrait as I will not paint a portrait in which the head is smaller then about 4 inches high that is the smallest I will go so if the client is not going to pay (or has the space for) I have to paint what they can afford to compensate me for and still give them what they want. Now I have other paintings http://homepage.mac.com/mfournier/po.../p1010001.html but that is not the normal commission. I would love to get commissions like Nelson Shanks but that is just not where I am at in my career but the next time my client is the Princess of Wales or the Pope I will surely offer some alternative composition options to the client. I suppose it is the chicken and the egg situation unless you paint large scale alternative compositions the chances of getting a commission to paint one are very slim as people hire you based on what you have painted in the past. But when you are trying to earn a living you don't have time to paint a large scale alternative composition no one is going to buy.