One to One. The Psychotherapist
‘The Psychotherapist’.
Oil on Linen, approx. 50cm x 60cm
The model is a friend of mine who is a recently retired psychotherapist. We had about 6 sittings in all, and I finished the portrait from photos. During the sittings I concentrated on the face, leaving only a few tweaks to make from the photos. This (arguably most important) part of the painting was finished relatively quickly, and I didn’t touch it again. In contrast, the pearls (in particular) and figure part of the painting from the neck down, caused me no end of problems. Aside from a basic lay in, these areas were mostly done from photos, and herein was the problem. I couldn’t match the life and photo work, and inevitably began overworking. I must have painted the pearls 20 times, causing other knock on effects every time I scraped off the paint and started them again. From life, they would have been less detailed and more immediately painted. I think they would have been more successful.
I also have some dislike for the placement of the figure on the canvas. If I were to frame this painting, I think I would take the opportunity to consider quite a dramatic crop. Anyway, for all the things that don’t work, there are areas of painting that I like very much. It is not a coincidence that the more successful aspects are those that I concentrated upon from life.
Aside from the technical thoughts of painting itself, I was really interested in considering the dynamic between painter and sitter as I worked. I think portraiture is an intimate, sometimes intense, process. There is scrutiny by the artist and a search for the psychology of the sitter – who can consciously seek to control what they show of themselves, or unconsciously give away something unexpected. There is an element of working together to create something meaningful, but also one party leading the process. In so many ways there is much in common between what is shared by artist and sitter, and what is shared by a therapist and patient. No wonder portraiture is so compelling.
I’ve been so busy struggling with the challenges of plein air that all indoor work has ground to a halt. Now this lovely portrait is inspiring me to go back to painting people, I feel left behind!
I agree about the cropping, we were discussing cropping on the Plein Air Facebook, and all the graphic designers admitted to regular cropping, but non designers not only rarely did, but some had never even thought of doing it.
What you say about the intimacy of the portrait process is so true, working from photos is such an inferior way of working, both in terms of art and psychology.
Have you notice that some really talented and experience “from life” artists do actually make quite good paintings from photos. It’s as if their experience painting from life is sufficient to add a depth and understanding that is absent in the photo.
Always good to see your work!
Hello Jen and thank you for your comment, it really means a lot to get a response. I’ve been working on my own for too long, and am missing the dialogue with other artists a great deal at the moment.
I think getting out with some plein air, like you have been doing (brilliantly), will be a really good change. It made me smile to think that as I am contemplating getting outside the studio, you are thinking of some work back inside. As you say, there are great challenges with plein air, and I definitely think I’m dragging my feet a bit on getting out there because I’m subconsciously worried about the inevitable failures to come. Of course, the best mantra that I will try to keep in mind is the famous: “Try again. Fail again. Fail better.”
I definitely agree with you too about artists who have a lot of experience working from life being able to use photos much more effectively. The intense looking, and constant decision making about what to filter as conditions change, must teach the artist a great deal about light and space that, I’m sure, can’t fail to add that extra depth when they need to use photographic references.
Will you make it Salisbury over Easter? I hope so. All being well, I’ll be there. I missed February, and must say that a burst of structured painting will be a welcome boost for my motivation. The winter has just been far too long.
Hope to see you soon!