Portraits are amazing things and owning one is the start of a lifelong friendship.
I just found a drawing of my grandfather after 20 years tucked away in my student portfolio… it’s like having him back… the sensation and life captured in the drawing has had a hugely pleasant and cathartic effect on me… it has brought back to me a special moment: a certain amused look he had
My paintings always strive to capture the unique character of the person… so rather than attempting superficial likenesses, they are very much paintings of people.
The first part of the story is for us to meet and chat about what you would like and expect from your painting. Sharing information about the type of work you would like is important, maybe something has inspired you, a moment in your life, your child’s development, a moment of self expression or a passion for real, living art.
I normally make portraits using sittings and one of the 2 ways set out below but each portrait is as unique as you the subject – it is possible to work directly from photographs too. Both of these methods follow my particular technique which uses the subtle pallet of the earliest Renaissance painters, in particular Lippi, Massolini and Massaccio. This pallet set the colour range of great artists such as Botticelli and Michaelangelo. . .
Having studied at Camberwell School of Art my range was, in my early days, based around traditional English painters such as Freud and Uglow, fairly tonal with subtle hues. However, it wasn’t until visited Florence and the Brancacci Chapel, on the rave suggestion of Sarah Raphael, that I had a chance to see earlier masterpieces in the flesh and work from them directly, in pastel and pencil. I worked in the chapel for an entire week. My pallet underwent an important change noting the importance of fresco grounds and warm to cool tonal control. ABOVE Masaccio’s fresco at the Brancacci Chapel, Florence with several re-painted portraits by Phillipo Lippi. . .
Freshness of the French painters
the painted portrait by ‘Studies & Sitting’ with ‘Photography’ combined
Meeting and Drawing – making the ‘studies’ and making you come alive on canvas The first meeting can include arranging the drawing sitting where I make several studies over the course of an hour or so. These drawings create the life and moment of the final piece. Photographic studies as reference to detail Photography is an important way of capturing hues and facial detailing. The final Painting in oils The painting is made from the studies as a final piece.
Below: Painting underway from photograph.
Portrait entirely by sittings
The traditional painted portrait
Here we sit for several sessions while the painting is made in ‘life’. Clients include Micheal, Nicki and Shakira Caine, Sarah Raphael, Mark Burkhardt, Bernard Levy and many more. If you are unsure of how you would like to do this please drop me a line and explore the various options. . .