I am always amazed with how a painting evolves from just a vague idea into something with a life of its own. I’ve been working on this particular painting for a few months. It has been constantly changing, but I think I may have arrived at the final layout.
The section above has seen the most changes. Originally it just had the settee with the two figures on it, but that left the composition unbalanced. So then I had the idea of adding the Three Graces; or a contemporary equivalent: three archetypal women. I already had an idea for the faces I wanted to give them, but I still had to find a model to pose. This provided me with the sketches at the top for my reference.
But still this little corner of the painting looked a bit empty. And then these two male figures in the background almost inserted themselves. As well as balancing the composition, they also tied up a few loose ends in the narrative.
I honestly don’t know the answer to that question. I can onlyspeak from the perspective of an artist. When I look at the portraits I have painted, I consider them as a record of the time spent with the sitter – whether it was just a single session, or a number of repeat sittings. During that time I was able to familiarise myself with not just the appearance of the sitter, but their overall demeanour and personality. I believe that contributes towards the final artwork being far more than just a record of the sitter in a static pose, frozen in time. The whole process of producing the portrait, from the initial enquiry, through the various stages, is very much a cooperative exercise between artist and sitter.
How to commission a portrait.
Find an artist.It is important to find an artist where you feel a connection with their work. I would have said that art fairs and open studios are a great way to check out lots of artists, but I’m afraid they might not properly resume for quite a while. Thankfully, it is a lot easier now to peruse the work of various artists than it ever was, with most artists having an online presence – whether it’s a website or an Instagram account. Try to find examples of their previous commissions.
Contact the artist. Unless an artist specifies that messages should be directed to their gallery, they will probably welcome enquiries about a prospective commission. Sadly, artists with online presences will attract more than their share of bogus messages and scams, so it might reassure them to give your phone number, or at least your full name, so they can try to verify your identity.
Discuss the brief. An artist cannot provide you with a price unless certain parameters have been decided. The most important will be the size of the finished portrait, and then the type of pose – head and shoulders, half body, full body, two figures. Each adds a level of complexity to the painting, and will incur an additional cost. Even a complicated background, compared to a blocked out colour, will cost a bit more. So it’s a good idea to decide on these things at an early stage. The artist should be able to guide you through the decision making process, and then he will be able to give you a price.
The contract. Some artists will require you to sign a contract and pay a deposit. Others, including myself, may only require that expenses and materials are paid for in advance. However you agree, whether by phone conversation, zoom call or email correspondence, it is important to have that final agreement in writing, to avoid any future misunderstandings. If there’s is completion date, you should make that clear with the initial discussions. Oil paints take time to dry between layers, and some working methods take longer than others.
The sitting. Some artists will work exclusively from life, whereas others will work only from photos. This is something you should consider when first approaching artists (they should make their working methods clear on their website). Can you get to their studio? Is the artist prepared to travel to you? I personally insist on at least one sitting for a portrait painting. I am not happy with painting from supplied photos. I find the initial drawings are an essential element in the process. Apart from getting to know the sitter, the process of looking at the sitter reveals far more about them than a photo can tell me.
So, we’ve arrived at the stage where the artist will commence painting. This is the exciting bit. I find the initial sitting is like preparing the stage for a play. Decisions are made about the background (the setting), and how the performer willpresent themselves to the audience (the artist, and eventually viewers of the painting). This is the most collaborative stage in the whole process. Sometimes ideas present themselves straight away, and other times it can take take some effort to work them out.
So there are a few tips on the first steps in commissioning a portrait. I can’t pretend that it won’t require an investment of time, but it doesn’t necessarily require a huge investment in money. Of course, the first step is find that artist, and get in touch with them.
I had a life drawing session with a new model last weekend. I want to start collecting material for a new series of paintings, where the model is set within a domestic environment, in natural poses; either relaxing, bathing or doing chores. It’s a return to a theme I worked on about ten years ago.
The sitting went well enough. As it turned out, we didn’t move out of the kitchen, as the light was so good in there.