What greater challenge could any artist face than to try to depict a personality on canvas or panel, to create the illusion of a specific living person at his or her best, with that person's distinguishing personality traits and characteristic bearing coming through as if it were the real person right there? That is what a good portrait does. And it must be compelling as well, in order to stand as a great work of art.
When done well, its value as a work of art cannot be denied. When done poorly, well, that's another matter, but the objective is to do it well. The idea that one must argue to validate a given work as legitimate art only comes into play when the work itself is not compelling on its own terms upon direct viewing. When the work speaks Quality eloquently enough, verbal arguments are irrelevant. It's up to the artist to silence the critics by the quality of what we do, so to call into question the credibility of anyone who might try to minimize it or marginalize it.
I think it's best not to waste time arguing such points with people who are too ignorant to understand, anyway. The world is full of them. We either win them over by painting compelling works of art that breach their preconceived notions and register positively on their quality receptors, or we recognize that their prejudices are too strong against what we do, and therefore their opinions are not worth being concerned over. College art appreciation classes are most often where these prejudices are introduced into the minds of impressionable young students, and in many cases these indoctrinations blind them to Quality forever, where art is concerned. That is a travesty, to be sure, but let's not waste too much energy worrying about it. We have paintings to paint.
Virgil Elliott
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