Photographs have long been the subject of some debate in terms of their use by any artist, but I do believe (personally) they have a valuable role. I understand that in the past artists have necessarily done a lot of their work in situ. However, because we now have so many means of capturing images, it's no longer an absolute necessity to set up easel and equipment in the field, or require models to pose for hours at a time...
"The Four Virtues"
As an example, this painting was completed last year and is one of the first of my multi-layered portrait paintings. It is a very personal painting. I'd had the idea for the basic composition of this painting for a year or so before commencing, but decided on the final layout after having researched the underlying principles considered and utilised by Salvador Dali.
The 'models' are actually my four children, so it was very important to me that they were instantly recognisable, both by myself and each of them individually. It was a big personal challenge, not only to demonstrate my ability to achieve this but also place their portraits within a composition and context that describes a range of personal priorities and interests.
I made use of a variety of photographs ....
This photo I used as the main reference for my daughter's portrait and that of my youngest son's, though I did also consider how much he'd grown since this photo was taken.
I hoped to demonstrate both my current setting and historical interests by introducing Stafford Castle's ruins as a second layering to the backdrop of portraits.
This is the skyline and initial layer. I took this photograph as the sun rose over the valley of Merthyr Tydfil. A typical view from my home during the 7 years I lived there.
One of my favourite comments on the painting was by my eldest son who exclaimed, "I know exactly which photograph you used to do my portrait with". So not only did he recognise himself, but the reference source.
The portraits are in age order, so for the next sequential portrait I particularly wanted to capture my son's smile... but as you can see from the photo I used as a reference, his eyes are almost completely covered by his blonde curls. Although amused at the time, he wasn't particularly happy about having his photo taken ....
So in the portrait I lifted his chin and gave him a hair 'do'.
Like all paintings, this one evolved as I worked on it. Here are the initial outline portrait sketches on canvas, just as I began to work on them.
The central foreground incorporates finer details of my personal interests: Language, philosophy, logic, ancient history, tools and specific associations with each. These are again referred to in the frame surrounding.
The beauty of any oil painting, particularly if it incorporates a portrait, is that (unlike photographs) you are able to enjoy looking at it for hours without ever feeling remotely embarrassed for doing so. A good painting should offer more than just one simple view, in my humble opinion.
The Four Virtues was one of my first paintings, being the 3rd that I did on canvas.
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