On painting people I know
Chuck Close, the most famous contemporary portrait artist,* doesn’t accept commission work. His logic is simple: whomever he paints will become the subject of minute examination and tremendous effort for several months so it had better be someone he likes. He paints people he’s interested in, and, for the most part, that’s synonymous with people he knows.
It has always struck me that Close is missing out. I’ve found that some of the most interesting paintings come from the process of figuring out what’s compelling about someone I’ve just met. That said, I too like painting people I know and, more particularly, the people I love most.
It isn’t that making the portrait of a favorite person is easier than painting a stranger; nor is it that a familiar face is more of a challenge than an unfamiliar one. It’s simply that capturing the likeness of a loved one is a little bit more fun. My favorite people in the world are my favorites for a reason, and, if I like painting them a little bit more than anyone else, it’s because I like to have them on my mind.
These four people represent my first steps toward adulthood. This photo is from 2001 when we were all in our second year at university, and I’ve since painted each of them—Aaron more recently with Christine, and Bethy and Tom a few years ago.
When Christine and Aaron got married a week or so ago, it was a good excuse to paint a diptych celebrating their ten years of knowing each other.
For Christine’s half of the pair of wedding portraits, I chose to work from this photo. Though profiles are not usually my first choice, this is the second one I’ve made of Christine. I had already painted one in 2006 but, in that painting, Christine’s expressive neck was hidden so I had to give it another go!
Often, when I look back at process shots of a portrait, I’m struck by what works at various stages and by what I manage to capture early on in the process with relatively few colors. I really like the gesture of the light orange-brown swath on her neck here.
Then, too, there are the moments where I’ve seemingly lost everything…like here!
When I’m painting loved ones, the effects are that much more obvious.
I know Christine’s face well, so even the subtlest modulations can bring out glimpses of likeness.
Here, the way she’s really leaning forward is so right, but the rest is less so.
And then it’s lost a bit in here…
...and here.
Her jaw is too solid and square-feeling here.
Going back in with white for structure.
And then softening…
...and softening some more.
Gwenn Seemel
Christine
2009
acrylic on canvas
20 x 20 inches
(detail below)
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*Close only qualifies as a figurative artist in my book.
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CATEGORIES: - Process images - Practice - On portraiture -
(2) Comments / Commentaires: On painting people I know
Yes, please! And you…I want to see YOU!!
I’ll post the making of Aaron’s portrait soon…
Christine...
So cool to see the process unfold! We are loving the portraits, by the way… You’ll have to come see them on display sometime.
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