One approach I have seen that seems effective is to make the painting about something more then the rendering of the individual, if the artist can tell a story through the use of setting and props, then the experience for the viewer immediately deepens.
I've compiled a list here of paintings in which the artist did just that in a manner that inspires me. My next step is to try to put that inspiration into action. This is really an issue of having forethought and coordination.
It is hard to schedule a model and just throw random objects and clothing at them and have it turn out interesting, especially if in my case, one shares the cost of the model with other artists, and therefore there is an extra level of coordination needed to create a sense of vision.
Working with others however can also be a strength, because if an idea is come up with ahead of time, then everyone can do their part to contribute props and coordinate with models.
It would be fun to pick a photo or painting ahead of time and decide as a group to gather the necessary materials to create an updated version of it.
William Merritt Chase
George Hendrik Breitner
Peder Severin
Robert Riggs
Joachim Beukelaer
Akseli Gallen Kallela
Alexei Petrovich
Arkady Aleksandrovich Plastov
Bo Bartlett
Grigory Chainikov
Charles Webster Hawthorne
Charles Webster Hawthorne
Johannes Vermeer
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| Evgenia Petrovna Antipova |
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| Frederic Lord Leighton |
Sergei Grigoriev
Charles Webster Hawthorne
Laurits Andersen Ring
Laurits Andersen Ring
Laurits Andersen Ring
Laurits Andersen Ring
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| Richard Edward Miller |
Eduard Manet
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| Eduard Manet |
Eduard Manet
Eduard Manet
Eduard Manet
Eduard Manet
Eduard Manet
Marie Bashkirtseff
Artist Unknown
Richard Maury
Rick Beerhorst
Robert Riggs
Sturtevant J Hamblin
Alexandra Tokareva
Albin Veselka
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| William Stott of Oldham |
Akseli Gallen Kallela
Albert Edelfelt
Charles Courtney Curran
Alfred Stevens
Akseli Gallen Kallela
Gari Melcher
Jules Bastien Lepage
dennisgeden
David Bates
David Bates
I'm really curious to hear what you all do to give your model a sense
of place and time. It feels like a lot of extra work to make it
happen, and I am only just getting going with this. Feels like
discussing it with others can help me to feel more willing to take this
approach on. So what are your thoughts?
I like your idea of organizing and discussing props and themes ahead of time for the group sessions. Thanks Andrew.
ReplyDeleteI have always felt the same way Andrew. I find some of the best portraits I've painted are those painted on site at the sitters home or studio. That way they are within their own environment. What you see tends to be the objects they have placed around the space. When having someone come into my studio I like to compose a scene that relates to the person, objects they would like. Although I have painted many paintings in the past where we dress the model, I much prefer the model show up in clothes they wear and feel comfortable in. I'll often ask someone to wear what they think they look good in. It also depends how much time one has to work with the model. In groups it usually is a 3 hour session. Not a lot of time to paint a model and the surroundings. Terry and I have worked together or with another artist or two and do several sittings over a period of several days to weeks or more. Then you have to come up with an idea that makes everyone happy and excited to paint what's in front of them. Not always an easy thing to do. For me, the best work is that which is grounded in our own time.
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