Art Archives - Peter D'Alessandri Portrait and Figurative Artist

18/11/202424/11/2024

Ordinary People

Where are all the Portraits of Ordinary People?

Who has their portrait painted these days? When we think of portrait commissions, stuffy old paintings of eminent public figures might spring to mind – business leaders, politicians, academics, scholars, philanthropists, activists, sports figures and celebrities. All worthy figures. But why is it that portraits are predominantly reserved for these individuals? Where are the portraits of the rest of us?

Cost is a significant factor. Not everyone can afford a commission. There’s also a widely held belief that portraits are primarily commissioned to recognize and honour the most worthy members of society—those with notable achievements or significant contributions. But what about ordinary people? What about the great hordes of the “unworthy”?

portrait of Michael, a homeless person who was living in a shelter at the time I painted his portrait

Meet Michael. He was homeless at the time I painted his portrait above, and had recently been given a space in a homeless shelter, along with his dog Floyd. By any measure Michael was as unworthy as they come, but he was a valued and trusted friend. It was an honour to paint his portrait and listen to his story.

Portraits of the Everyday People

I am continually frustrated by the reinforcement of the belief that portrait paintings are still the preserve of the privileged elite or the extraordinary. The BBC series “Extraordinary Portraits” describes itself as showcasing “breathtaking portraits of people with incredible personal and powerful stories—creating a picture of modern Britain.” What rubbish! We are all special, and we all have stories to tell, if only people took the time to listen to them.

The Project

In exasperation, I proposed to a friend that I would create a series of portraits of ordinary people—people who could not afford a commission but who would love and appreciate a painting of themselves or a loved one. My friend suggested I could pick “worthy” cases like nurses or doctors. No, no, no! With the greatest respect, the “worthy” have received quite enough attention lately. I want to focus on the overlooked masses. I want to paint the ordinary.
This series will aim to democratize the art of portraiture, shining a light on those who are often forgotten or overlooked. It’s about taking the time to hear those quiet voices, and listen to their untold stories.

30/09/202422/10/2024

The Bed

Three paintings from Tracey Emin’s I Followed You to the End Exhibition

Upon visiting Tracey Emin’s “I Followed You to the End” exhibition at White Cube Bermondsey, I was struck by the recurring motif of the bed in her current work. I suppose this resonated with me as the bed also plays a significant role in my own Relationships Series of paintings. This got me thinking how other artists have used the bed in their art, the varied meanings it holds, and how my own use of this motif has developed over the years.

Early work from my Relationships Series of paintings

The bed has been a recurring motif in the works of many artists. Several notable painters like Vincent van Gogh, Henri de Toulouse-Lautrec, and Tracey Emin spring to mind.
Vincent van Gogh’s “Bedroom in Arles” series is perhaps one of the more famous examples of the bed as a motif. Painted in 1888, these works depict his simple bedroom in the Yellow House in Arles. The bed in these paintings probably symbolizes a sanctuary, a place of solace and personal retreat amidst the artist’s turbulent life. Maybe it’s a metaphor for van Gogh’s search for peace and stability in his life.

Henri de Toulouse-Lautrec is one of my favourite artists. He often used beds as a stage for themes of intimacy and human connection. In his work, the bed is not merely a piece of furniture; it represents a private world where genuine connections are forged, away from the public eye. These snatched moments of true affection stand in stark contrast to the superficial affections of their working day.

Tracey Emin’s use of the bed as a motif remains a powerful element in her recent work, building on the themes she established with “My Bed” (1998). In Emin’s art, I see the bed representing a deeply personal and autobiographical space, reflecting her experiences, emotions, and vulnerabilities. For someone who has endured long-term illness, the bed and bedroom take on even greater significance, often becoming the artist’s entire world for extended periods.

The bed motif in my Relationships Series has evolved over time, reflecting the change in my own circumstances. Initially, the bed was depicted as a simple, intimate space, and the earlier paintings were autobiographical in nature. They were simply an observation of my own relationship.
As the series progressed, I wanted the bed to take on different meanings, representing not just physical intimacy but also emotional vulnerability and the complexities of relationships. I grew particularly interested in the physical and emotional distance separating couples.

I became fascinated with the sense of loneliness that can exist even within intimate relationships – the bed became a symbol of both connection and isolation.

I want to resume work on this series, but have not decided how I will proceed. The direction I take depends on finding suitable subjects for my observations. My preference is to find people in actual relationships, but bringing two random individuals together for a sitting can also be interesting. I will keep you updated.

Two professional models posed for this later Relationships Series painting.

Figurative art, tracey emin

15/09/202422/10/2024

Life drawing

The Life Room

The Life Room has long been a cornerstone of artistic education. It provides a dynamic environment where artists and students can engage in close observation and immediate artistic creation.
Since my first introduction to the Life Room at art school, I have always had a love of drawing the human figure. Aside from being a useful exercise in developing your technical skills and practising new techniques, each human figure has an intrinsic beauty and uniqueness that offers endless forms of expression.

Wherever I have lived (and I’ve moved around an awful lot in the last ten years) I always tried to find somewhere I could practice my life drawing. It wasn’t easy the past year in Eastbourne. I couldn’t find anywhere suitable for when I was free.
On moving back to London last week, the first thing I did was look for a good life drawing group. A quick search on Meetup found different classes each day and evening of the week. That’s the beauty of living in a big city. It has been a while since I’ve drawn from the model, and I couldn’t wait to get started.

Drawing has always been an essential component of my art practice. It starts with preliminary sketches, evolves into detailed renderings of each subject, and culminates in the careful planning of layout and composition on the canvas. Drawing is the indispensable tool that transforms a mere spark of an idea into a fully realized painting.

Drawing From Life

My experience during lockdown reminded me of the incredible value of drawing from life. During this time I spent each day drawing something around me, from empty wine bottles to kitchen utensils. I’ve never been one for still-life, but I found that forcing myself to study the subject, regardless of how boring it may seem, enabled me to eventually see a new level of detail. Normally after an hour of studying the subject, it felt like a veil had been lifted. I could see subtle variations in tone that I hadn’t noticed before. I find this is exactly what happens during a life drawing session, and it is why I prefer longer poses

life model sitting next to life drawings

The Human Eye vs The Camera

When you draw from life, you’re constantly translating a three-dimensional world with its rich, dynamic range onto a flat surface with limited tones. This process is part of the magic of life drawing. In contrast, when you snap a photo, the camera does all these calculations for you. However, it might interpret things differently, often missing out on a wealth of details that get lost the moment you press the shutter.
In my past experiences hiring models, I was always too conscious of their hourly rate, which led me to rush through as many poses as possible to maximize my reference photos. Reflecting on those sessions, I realize this was a mistake. Moving forward, I plan to include at least one long pose in each session. This approach also applies to portrait sittings, which is why I always aim for a three-hour sitting for a portrait commission. Even if I later work from reference photos, that initial sitting is a crucial part of the process.

A few notes for people who would like to try life modelling

For anyone interested in trying out life modelling, The Register of Artists’ Models has some useful resources online.

modelreg.co.uk/st_AdviceForModels

And for anyone who would like to attend a life drawing class, Candid Arts Trust has different classes (tutored and untutored) most days of the week. You can join via Zoom, or attend in person if in London.

www.candidartslondon.com

Life drawings of male and female nudes from Candid Arts long pose sessions — Life drawings from Candid Arts long pose sessions

09/09/202422/10/2024

London Portrait Artist for Hire

I have moved back to London and am busy trying to find a new studio space ready for my next projects. Don’t hesitate to contact me if you want to discuss commissioning a new artwork and would like to see some examples of my work.

I specialise in portrait commissions. There is plenty of information elsewhere on this website about how to commission a painting, and how much it will cost. To find out more click on any of the links below, or get in touch via the email address on the Contact Page.

How to Commission a Portrait
How Much does a Portrait Painting Cost?
How to Commission a Nude Portrait

details from a selection of portrait paintings

19/11/202319/02/2024

Art and War

artist in front of his painting alleged assault on pax by mars — detail from Alleged Assault on Pax by Mars

The Disaster of War.

Art and war – can art make a difference?
Aside from my portrait practice, war and conflict has been the subject of much of my recent artwork. The unchecked march of ISIS across Iraq and Syria in 2014 first prompted me to address this subject. The current preparations for the impending war against China reinforced my interest. The political climate that was feeding this frenzy was the inspiration behind my painting “Alleged Assault on Pax by Mars” (shown above).
With the Russian invasion of Ukraine I felt compelled to work full time on “Men Wrestling” and “The Disasters of War”. Even though I was neglecting more commercial work, I felt it was so very important to make a statement with these paintings. Now I am wondering if it was worth it.

detail from painting men wrestling, with two naked wrestlers clinched in combat — detail from Men Wrestling

What was the point?

The Israel-Hamas war has left me feeling empty. Its brutality has shocked me, and I have been appalled by people’s reactions to it. I have no desire to pick up my paintbrushes and say anything about this war. Other than it disgusts me. I am disappointed in humanity. It seems we are no more than beasts.
So in this dark mood I heard an interview with legendary war photographer Don McCullin, where he spoke about how depressed he was with the present conflict.

‘I am slightly depressed in a way, because I think everything I’ve done concerning international conflict, everything I have contributed to showing how awful it is, I think has been a waste of time really.’

‘I’ve looked at so many wars, I’ve been in so many wars, and nothing has changed.’

The BBC interview: Acclaimed war photographer: ‘I don’t believe I ever made difference’

bombardment by philip guston — Bombardment, 1937, by Philip Guston. A reaction to the bombing of Guernica

He summed up exactly how I was thinking, and got me wondering if art really can make a difference. I’ve started looking out for paintings about war in my gallery visits. At the recent Philip Guston exhibition at the Tate I saw his painting Bombardment (photo above). It’s a reaction to the bombing of Guernica during the Spanish Civil War. I hadn’t realised that many artists responded to this event. I was only familiar with Picasso’s masterpiece. Clearly none of them made any difference at the time. Instead of significantly influencing public opinion, they instead became just another record of the atrocity.

Producing my anti-war paintings may be no more than a cathartic experience. If that is the case, what really is the point in painting them?
I suppose it’s a bit like joining a protest march. Each little voice might not make much difference, but it helps make that call for change a little louder.

You can see and read about my paintings about the Ukraine War in the posts below:
An awkward conversation about my Ukraine War painting
The Disasters of War