Disappointment under pressure

[Cindy Procious]

Originally Posted by Mary Jane Ansell

I asked for the little boy to come to my studio this time and I tried a completely different pose and lighting set up, I went with my instinct about how I wanted to represent him, this time choosing a more intense focus, darker more dramatic, his pose was much more natural and typical of him and his clothing more personal. That resulting painting went very quickly indeed and the client and I agreed was far, far better as a result.

Mary Jane - is this the one?

http://www.maryjaneansell.co.uk/imag...0701182054.jpg

[Mischa Milosevic]

Ilaria, this is a wonderful painting! As is, it looks grate! You can leave it as is or refine and there is always room for refinement. It all depends on what it is you wish to do with it. Figure out beforehand what it is that you would change and why and then decide whether you wish to make the changes on the painting or start a fresh canvas.

You can Share with your friend how much you would love to do another and how pleasing it is to paint the boy.

Wish you the best.
mischa

[Mary Jane Ansell]

LOL - Hi Cindy - yes that's the one!! ;-)

[Alexandra Tyng]

Ilaria,

I'd like to hear what exactly bothers you about the painting. Is is only the likeness? I think it's a remarkable painting, especially the paint handling and expressiveness in the face. Of course I have no way of seeing the problems with likeness, but it could be a subtle thing as you well know. In my opinion the background could use more spatial depth and less pattern.

I have lots of those "misfits" hanging on satisfied clients' walls. The problem is, I think, that we are our own worst critics. We're painting to solve problems, and we are excruciatingly aware when we have not solved a problem. On a few occasions I've asked the client if I could start over. Only once has a client ever doubted my ability because I took a long time to get the right pose or made a false start. I don't think we should be the least hesitant about telling the client we want to work more on a portrait or start over. We are artists, not machines.

The thing that disturbs me most is when the client can't see the beauty or total transcendence of a certain pose, and insists on another kind of portrait. I'm doing a commission right now with this problem. I'll put my all into it, but I'll always be thinking of what it could have been if the client had given me the artistic freedom to follow my vision.

It's also very frustrating to be in your position, to be given the freedom, and a great subject, and not be able to get the very thing you are aiming for. In your case I would encourage you not to give up. You might be in a period of artistic growth right now. Sometimes these things happen more fequently during those times. I like the idea of taking a photo and trying to pinpoint the likeness problem, and of doing something radical with the part that displeases you. It has so much potential.Good luck with this, Ilaria!

[Ilaria Rosselli Del Turco]

Thanks for sharing your experience Mary Jane, and Mischa for the encouragement.

I did call my friend today and told her I was not completely satisfied with the painting and that I really wanted a second chance to work with the boy.
She was puzzled as she is very happy with her painting, but still she respects my opinion and has promised me more sittings.
My idea is to paint maybe a slightly smaller work, a more confident one on both parts, I mean less embarassed subject and less anxious painter.

Alexandra, the issue is likeness, yes, but also something with the pose, that oversized shirt, you see the problem is that I don't know either!

I could not avoid thinking of this painting when I started and set the pose, the boys looks so similar... but I later started having doubts: I am no Cezanne!

I made him look a bit clumsy rather then meditative as I initially ment.
Also the light in their house was very dim and too dramatic, perhaps such a strong chiaroscuro is not the best choice for young people.

I am not very keen on reworking the old painting, I lost stamina because of the amount of time I spent on it without knowing exactly what I needed to do. The scraping and sanding has also quite exhausted the surface of the painting!
I am excited with my latest work, which I can't wait to post, and I believe it has restored some of my confidence; I am very motivated to set things straight with this boy now!
Ilaria

[Michele Rushworth]

I told my clients that they should keep it and let it 'season' a little, and that I really needed to have it out of my studio for a while, but it is my intention to take it back and see if I can finally put it right in a few weeks, maybe with a last live sitting. At the same time I don't want to reveal my friend how much I am disppointed.

It's a very nice portrait, though the boy's expression seems a bit vacant. I think I would have set it aside in my studio facing the wall for a few weeks and then worked on it again before showing it to the client.

The very successful portrait artist Bart Lindstrom recently said in a lecture to a room full of other artists, "Every 10th portrait is a disaster".

[Ilaria Rosselli Del Turco]

Originally Posted by Michele Rushworth

The very successful portrait artist Bart Lindstrom recently said in a lecture to a room full of other artists, "Every 10th portrait is a disaster".

I must remember this one!

[Marina Dieul]

Originally Posted by Ilaria Rosselli Del Turco

I am excited with my latest work, which I can't wait to post, and I believe it has restored some of my confidence; I am very motivated to set things straight with this boy now!
Ilaria

Great Ilaria!
Gauguin and Picasso ( blue period) came to my mind immediately when I saw this one. I like it a lot!

[Richard Bingham]

That is worth remembering. (and sobering!)

However, the "commercial" aspect of a portrait commission makes that cold comfort for the client. Two aspects of this problem are worth careful consideration. One is the amount of "experimentation" involved in producing the work. A rule of commercial music is to reserve "pushing the envelope" for rehearsal time, and drop back to "tried, true, and well-polished" when on-stage. The caution would apply to portrait commissions, I think. The other is that while no one should ever turn out a piece they cannot "stand behind", it's more important how the client receives it than whether it's entirely pleasing to the painter.

That said, and given the homage to Cezanne, I like it!

[Cindy Procious]

Ilaria, I'm wading in late, so I'm sure you're well underway with your next painting of your friend.

I wonder, though, if part of the issue with the first one is the proportions? Doesn't his head seem too small for his body?

Other than that - to me - it is a lovely painting - and very much your signature style.