Posthumous portrait

[Tom Edgerton]

Michele--

Thanks...It was a neat experience in itself. There is a community theater group in a neighboring town that I was referred to by a costume designer at our local university. They are one of the oldest community theater ensembles in the region. The costume shop is over 75 years old, with a bank of washing machines and 3 or 4 volunteer seamstresses at the sewing machines. The woman who directs the shop has an encyclopedic knowledge of what they have, fortunately, because there are racks and racks of costumes and used clothing crammed together, and only she knows where things are. They have boxes on shelves labeled with such things as "Red Shoes" and "Pith Helmets." They rented me the suit for twenty dollars, and since my cousin is a regular part of the acting ensemble, she was my collateral. I could have rummaged through the place all afternoon if I'd only had time.

These kinds of connections are in most communities, and local colleges and universities are a great place to gather leads on such--it just takes a little digging.

Thanks again--TE

(Amazingly, the suit fit perfectly with no alterations whatsoever.)

[Alicia Kornick]

I have one or two of those suits in my closet! Classic style with peplum waist. Of course one of my NY resolutions is to clean out that closet.
Alicia

[Michele Rushworth]

Thanks, Tom. Now I'll know what to do next time I want to paint a portrait with people wearing pith helmets, too!

[Mike McCarty]

This is the third of my "Blue Trilogy." It's a posthumous portrait done from a small (2") black and white photo showing her from the neck up, in an evening dress . The canvas is 60" tall.

Tom,

I'm always curious about how commissions get consumated, especially something that was born of such humble beginnings. Did someone bring this small photo to you and instruct you to create something from your own imagination, or, did you first see this photo and suggest to them what the possibilities could be?

Obviously the trust required to begin a project like this (so much from so little) was justified.

[Tom Edgerton]

Mike--

The foundation gave me a reference scrapbook, but that was all the input from them. I went to see the space and told them it needed to be fairly large to carry it. I quoted a price range, and that was that. No creative input, just trust. I had worked with this foundation before--I've painted the woman's husband twice--and they pretty much just leave all the details up to me by now. The family wasn't involved in the process, except to indicate that she indeed occasionally arranged flowers. The painting was driven by my artistic and compositional interests at the time, and all I did was show the foundation president a quick color rough with the head shot I had chosen, both for expression and because it documented the middle (vital) period of her life, when most folks remember her.

In short, they're the PERFECT client, and I don't take them for granted. The mutual trust is born from them knowing at this point that I will walk over hot coals for them if they ask.

Best--TE

[John Reidy]

Tom,

Beautiful work! I know we haven't had much opportunity to talk but I'm glad I happened upon your post. What a challenge and what a wonderful job you did in accomplishing it.

My congratulations to you and your satisfied customer(s). Keep up the good work. Its work like yours that keep people like me trying.

John

[Tom Edgerton]

John, thanks.

Hope to run into you before long.--TE

[Linda Nelson]

Beautiful peice Tom - I particularly like the hands - It's gives her a nice flair of personality that is also found in the eyes.

Congrats!
Linda

[Sharon Knettell]

Tom,

What a beautiful graceful piece.

I cannot imagine being able to do something so graceful with the reference you had. I am sure they loved it!

[Chris Saper]

Tom I am checking in a bit late, but I am so glad to hear of this great commission!