A proper foundation

[Mike McCarty]

Truth is I don't really like beer, and I rarely watch sports on TV until the end of the season. As I've watch it recently I see that the advertisers are convinced that the viewers are a collection of males who have two things in common -- they drink a lot of beer, and they are romantically challenged. I wonder if one doesn't have a lot to do with the other.

What has changed?

Regarding Daniel Greene -- I find that his portrayal of the subjects he paints far less glamorized than most. He instead seems to embrace the obvious humanity of the individual, instead of trying to create a false facade. In the case of Robert Beverly Hale -- the eyes cast down, looking as a man might who's lived a long life. The craggy hands painted not in suggestion, or hidden behind the coat, but up front in detail.

And to the right, the geometric guidelines suggesting some of the elements of draftsmanship. Yet, not eliminated at the end, but left as part of the composition.

I also see this exposed humanity in the portrait of Mr. Steinberg.

What is possible, what is appropriate, is limited only by the imagination and our own intestinal fortitude.

Having said all that -- When I was in the home building business there was among builders an unspoken competition to create the "new" look, that "cutting edge" design which would stand you apart. Having watched this transpire over the years it brought into focus the principal that there is a very fine line between dynamic "leading edge" design, and just plain goofy.

[Allan Rahbek]

In my opinion any person is worthy of a portrait, but for several reasons there are only a few taken under the brush.

The challenge is the painters. He is the one that has to decide the pose, outfit and expression. Anyway we have to choose among the possibilities.

As long as the painting is a portrait of the person and not the outfit.

There are too may suits in traditional portraiture.

Allan

[October Reader]

Originally Posted by Mike McCarty

I find that his portrayal of the subjects he paints far less glamorized than most. He instead seems to embrace the obvious humanity of the individual, instead of trying to create a false facade.

My favorite D.G. painting/pastel works are the ones that cut through surface pleasantries and down to the essence of the individual or what was perceived as their deeper character. But this begets the questions:

Is the artist a merchant providing a service to the patron - which is to be remembered as important , pleasant, and beautiful? Is this need at odds with the artist's private wish of creating a work that may reveal more? To whom should the artist be more loyal, him/herself or the client's humanly wish? Let's not forget many of the well known portrait painters were/are good business managers as well. The best case scenario would be where the client is willing to set their own frailties aside and let the artist do the choosing. I won't be surprised if D.G.'s Mr. Hale was more kindly disposed toward making a remarkable piece of artwork than having himself beautified by D.G.

I better shut up, otherwise I'll never get any real painting done

[Michele Rushworth]

I think you should do a portrait of the "Man of Concrete".

[Sharon Knettell]

Suits, suits suits.

Allan, here are a few more.

[Mike McCarty]

where the client is willing to set their own frailties aside and let the artist do the choosing

I wonder if this was the case in the two examples above. I would love to have been a fly on the wall while these discussions took place. I notice that the portrait of Mr. Steinberg was signed in 1976. Mr. Steinberg looks to be very mature at this point in his life. I don't know what the stature of Daniel Greene was some thirty years ago, or whether his reputation alone would have been of sufficient weight to impose his will on such a figure.

It would seem to have been either a compelling argument from the artist, or the position of the client. I would give the nod to Mr. Greene because it keeps showing up. Anyway, it's left for fools to ponder.

There are it seems more than one track for the portrait artist. One is to provide financially for yourself and those that depend on your efforts. Others with less financial restraints might be more easily seduced by the eclectic. Then there are those that just **** the elements and do what they have to do.

[Linda Brandon]

Originally Posted by Mike McCarty

There are it seems more than one track for the portrait artist. One is to provide financially for yourself and those that depend on your efforts. Others with less financial restraints might be more easily seduced by the eclectic. Then there are those that just **** the elements and do what they have to do.

The best position to be in is probably to have a couple of projects going at the same time.

About D.G.'s subjects: at some point certain people seem to give up their vanity and decide simply to surrender to the artist and become artistically interesting. This is going to happen to me personally any moment now.

[Mike McCarty]

This is going to happen to me personally any moment now.

MERCUTIO

Tut, dun's the mouse, the constable's own word:
If thou art dun, we'll draw thee from the mire
Of this sir-reverence love, wherein thou stick'st
Up to the ears. Come, we burn daylight, ho!

[Allan Rahbek]

Originally Posted by Linda Brandon

The best position to be in is probably to have a couple of projects going at the same time.
.

I believe that most painters have at least two projects going on continuously.
Some are financially independent by being rich, rich and famous painters, or married to a rich, while others have another job alongside the painting.

Many, here in Denmark, live on welfare and do there painting as there only activity.

The lucky ones are famous and teach.

I am actually not sure if I would want to live exclusively from painting portraits. I would like to keep the painting business as the fragile flower that I nurse and love and not the pair of horses that have to drag me through the mud of life.

Allan

[Allan Rahbek]

Originally Posted by Sharon Knettell

Suits, suits suits.

Allan, here are a few more.

Sharon, You cry suits !

Then I want to be the cheerleader of the cute new section and cry. : Nudes, nudes, nudes.

Just to balance things up, Allan