When my client and I discussed the methodology for this painting it became clear that we were not going to let distance become an obstacle between us. My client was in Germany, near Cologne, I was in Scotland and travelling was not practical at the time so we had to look for an alternative.
We agreed to use a combination of photographic references supplemented with life sittings by means of a video conferencing system. I worked on some compositions from my imagination and submitted some sketches. The chosen one was further developed into a colour study in oils. In turn, this became the blueprint for the final painting.
Sketch in charcoal accepted for the final composition.
Small Colour Study in Oils.
We used live the video conferencing system to discuss poses and do quick sketches. The rest had to be painted from photographs. Of course, painting only from photographs may reduce the need for travelling and the time required from the sitter, but portraits painted simply by copying a photograph can be static and lose the freshness that is evident when a portrait has been painted from life.
In order to lessen the drawbacks of relying on a single image, I relied on a varied number of high quality photographs showing different poses and expressions. I selected the best images that would give me the information I needed to complete this work successfully. This painting was executed with a Sight-Size approach.
I did not want the painting to become the photo-copy of one single image so I used a series of photographs taken from different angles and printed exactly the same size. The images were attached to a board next to my canvas and changed regularly. This forces me to keep re-checking and adjusting what I paint. In this way, I endeavoured to achieve a similar effect as if I had been painting from life, with a subject who does not sits statue still. I hope that the result of this approach is fresher and more alike to a portrait which has been painted from life.
The subject (in this case the photograph) is next to the canvas and painted the same size I see it from a fixed point. I used different images which I changed regularly. In this way the body "moves" and the expressions "change"a bit so I must make corrections, almost constantly, to ensure that I am achieving a likeness despite these changes, just as I would do if I was painting from life.
The amount of details present in this composition also required careful balance and a skilful execution. When many details are included, there is a risk of turning the work into a painted photograph in which every aspect is completed hyper-realistically, burying the gesture and artistic energy.
Completed painting. The Baron extends his right hand in a welcoming gesture. The background shows a view of South Cadbury. The mound which breaks the horizon line is where Cadbury Castle once was, a site rich of archaeological interest as it is believed to be the seat of Camelot, where the legendary King Arthur had his court.
We worked to produce a contemporary painting which evokes a historical period. The variations in the flow of the brush strokes and paint effects allowed for a degree of irregularity, while remaining true to the rules of realism. The result of this process is not a copy of a single image, but the amalgamation of my impressions interpreted aesthetically.
I would like to extend my special thanks to my client for his confidence and support throughout this project.
The image below shows the painting as it hangs in its new home in Germany.
