Taste

[Peter Jochems]

I like to see the portraits of Vermeer and Rembrandt. I'm not sure whether Rembrandt or Vermeer showed deeper emotions but the girl with the pearl earring seems alive. Sometimes the sitter's casual appearance says enough I think.

When I see this portrait by Rembrandt I see an elderly man who has difficulty sitting on the chair properly. That's how people must have known him. When I see the portrait of Gerard de Lairesse I see a young man whose face was deformed by syphilis so badly other people looked away from him, but Rembrandt knew how to portray him with a certain dignity and sympathy.

[Peter Jochems]

The painting was unfinished... unsatisfied client?

[Timothy C. Tyler]

This is a good fresh discussion...indeed the whole thing is about taste; ours and the clients'. I think formal need not preclude deep-it's just that lesseor formal portraits often do, so we associate these traits. The converse is certinly not true either-casual doesn't mean a deeper portrait.

It is a goal of some portrait painters to only accept the commissions which allow them to paint as they (the artist) would elect to paint. A few have actually arrived at that place. I personally think these give us the best work. Work that will mean something to someone 50 years from now, even if we don't personally know the sitter. Sadly, too few portraits today (or ever) have passed this test.

JSS below

[Tom Edgerton]

It is a goal of some portrait painters to only accept the commissions which allow them to paint as they (the artist) would elect to paint. A few have actually arrived at that place. I personally think these give us the best work.

Tim, even as I defend the potential for achievement within "work for hire," I've got to agree with the above.

If you all will indulge me, THIS from Sargent, later in his career. A Rockefeller, no less. Not a painting done by a commission-hungry artist, nor likely to be done by a younger artist, in my opinion. It breaks my heart every time.

[Michele Rushworth]

Thanks for posting that, Tom.

What a rare luxury it would be as an artist to be allowed to paint the man inside the role, like that frail old gentleman wrapped in the Rockefeller name. So many official portraits, in particular, paint only the job and the symbols, and leave out the humanity.

Not only are there few artists who would be given the leeway to paint this sort of a portrait of an important figure, there are few important figures who have the security of self to allow themselves to be portrayed in such a vulnerable manner.

[Jeff Fuchs]

Aldo,

Could you do us a favor and post a link to a British website that features many commission portrait artists? Surely there's a UK version of SOG over there. I'd like to see examples of what they're doing that is so different from US artists.

I'm reluctant to say this on SOG, but I think that, as a whole, commission portrait clients are among the least sophisticated art buyers out there. They lean toward overly sentimental portrayals, and all too often want paintings made from old snapshots. This is regrettable, considering that much of history's great art is commissioned portraits. But taste over here is poor to begin with. If you're aware of the tremendous success of Thomas Kinkade, you have an idea what American artists are up against.

I recently posted a question in this forum, asking whom the SOG artists might choose to paint their own portraits. My choice was Odd Nerdrum, because of his skill, and dark, meaningful works. Many respondents chose similarly, avoiding sentimental artists.

I was encouraged yesterday, when I attended the Heart of Spain exhibit in Alexandria, LA (a small city, and unlikely venue for a major exhibit). The crowds were staggering, and we had to wait in line an hour to get in. For many, this may have been the first true fine art they have seen. If the American public could see more great art, their tastes would follow.

www.heartofspain.com

[Tom Edgerton]

Nah, Jeff...don't venerate Europe just 'cause it's old. The U.K. gave us Benny Hill, after all.

I've never felt constricted by my geographical circumstances. I've often, however, felt constricted by my own lack of imagination.

(I'm sorry, I couldn't resist. This is the last on this from me, I promise.)

[Timothy C. Tyler]

Tom, good one. I think that was Sargent's last right? That's a good story. It also begs the point...was Sargent American, Italian, British or French? It was said he would use French when he did not know the right English word. He spent 6 months in America- 40 years in England...yet France and Italy were major influences upon his art education. I think about all we can claim is his legal nationality.

[Michael Fournier]

Ok let

[Jeff Fuchs]

Tom,

Nothing in my post venerated Europeans. I just lamented tastes here at home. For all I know, European artists are saying he same thing about their national taste.

Face it, if someone had told you ten years ago, that people would someday rearrange their schedules to watch big hit TV shows that featured people eating insects... well, I think I've made my point.