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Wednesday, 26 April 2017

From the view of a sitter



F
rom the view of a sitter





The thought of being painted by one of the world’s leading portrait painters, if not the leading portrait painter, can’t help but raise the question as to whether you quite deserve a place among the great and the good of her past sitters.  However, it is quite apparent when you meet the artist, Nicky Philipps, that she does not share this concern.  It is not the person that intrigues her, although the more the you sit the more she will probe you (without judgement) for your views on current affairs, but more the fresh challenge of capturing the face which sits before her.  Nicky’s technique is methodical and calming, you will become immune to the beady eyes peering at you from behind a thin pair of glasses, and their relationship to the arm which holds the brush and translates each thought.  You will occasionally hear a mutter regarding a particular feature, something like ‘no no, your nose is larger than that…’ ignore it, this isn’t a tactless blunder, rather a statement of fact in relation to the brushstroke which she has just whipped across the canvas.


 Nicky is an artist who practises the same sight-size method as that used by Reynolds, Sargent and Van Dyck, and you will feel that you are in the hands of a similar calibre when sitting for her. She embodies all the right things about an artist, all the natural things.  She puts paint on brush, and brush on canvas and from that manages to conjure a portrait which breathes; a talent modernity is constantly finding ways to crush and easily criticise through photography and ‘air brushing’.


Take advantage of being in a studio that embodies all the great myths of the artist.  Nicky’s is actually incredibly well ordered and tidy; made up of stacked blank canvases primed and ready to go; an immaculate palette of fresh paints, reds, blues and yellows, soon to be mixed and transformed into the natural tones of the skin, a faint smell of turps and the remnants of some eclectic artist’s parties which spontaneously occur in a way only they know how.


There is a refreshing lack of technology in the studio, a computer, iPhone, and radio are the only signs of the time, and none bar the radio are used in Nicky’s painting process.  She paints solely from life.  There is also little to suggest that Nicky has a standard ‘painting routine’ for her portraits.  After all, a new sitter brings a whole new experience, which is equally challenging and enjoyable for her – or at least this is how she tactfully described mine!  You will be amazed how quickly, and with what seems like minimal effort, that a face starts to take shape on the canvas, and it is fascinating to see the blobs of paint from the palette combine to create you.


I cannot speak for all Nicky’s sitters but I imagine the majority of us have stayed beyond our welcome as there is no place quite like her studio and you will not want to leave once you are there.  Another factor may also be that Nicky will not put down her paint brush until physically disarmed, so if you do suddenly find yourself as her muse, do keep half an eye on the time, otherwise you will find that you have whiled away the entire day (including lunch) discussing various political topics and becoming mesmerised by the two-step jig she performs as she lunges back and forth from the canvas.  It is an experience that will be very hard to top.



Finally, my tips for a sitter:


1.)    Try not to envisage what the portrait will look like, the full experience comes from meeting Nicky and seeing what she finds particularly interesting about you.


2.)
    If the process interests you, ask questions, you may not find yourself in a studio quite like this as often as you’d hope.  If you get asked to be quiet, it is probably because she is painting your mouth.


3.)
    The painting will travel through multiple stages before the final portrait reveals itself, I would therefore advise against showing the portrait to anyone until this stage has been reached.  Photographs distort brushstrokes and pick up on wet paint, consequently making the portrait look completely different on a iPhone and computer to what it will look like in real life.


4.)
    Pick a comfortable pose, you’ll be in it for a while and too much fidgeting is at your peril.  If Nicky suggest changing the pose it will probably be for a good reason, so I would go with it (even if you have had a day of sitting already) it is worth getting right.


5.)
    The legendary myth regarding artist’s distaste for timings may not be completely without truth.  If you would like to see the fruits of your combined labour then try not to have a rigid timeline for completion.  Relax and enjoy the process, unless you are Her Majesty, or a very lucky person, portraits do not occur too many times in one’s life and should be enjoyed to the full.


6.)
    Appreciate the talent of painting a portrait.  We have become relatively spoilt after seeing so many fabulous historical and seem less impressed and quick to judge where we think it could be improved.  Easy to judge, less easy to paint it yourself.


7.)
    Try not to fall into the ‘airbrushing’ trap of the 21st Century.  This is not a photograph. The portrait will be a combination of your features and your character, through the eyes of the portrait painter, and this is how it should be appreciated.


8.)
    Lastly, in case you’re worried, blemishes do not get featured unless specially requested! 



Thursday, 16 March 2017

Nicky Philipps: 1 minute without a paint brush.

One minute with Nicky Philipps has given us a lot to think about - a whole list of artists to read up on, a new genre of music to listen to, and an exciting young exhibition to put in the diary for June! 

Her Majesty Queen Elizabeth II, oil on canvas, 96" x 60", 2016

1.) Most influential artist on your work & why?
I’m afraid one is not an option, the list is constantly growing; Van Dyck, Velasquez, Sargent, Rembrandt, Lawrence, Manet, Monet, William Nicholson, Peploe. There is always something new to learn.

2.) Favourite medium & why?
Oil, there is such vast range of colours.
  
3.) Do you listen to music when you paint, if so what genre? 
Country and western. It’s "feel good" music, it even makes me feel good if a painting isn't quite working.

4.) When you’re not painting what do you most like doing?  
Anything to do with horses. Cook, play bridge or design things... And travel, except that this can sometimes count as work because I always take my sketch book.

5.) Favourite Art Collection?  
National Portrait Gallery, especially their early 20th century rooms.

6.) London’s best kept secret?  
Rossetti Studios. Although we’re planning an exhibition for young artists there this summer, so the secret may not be so well kept after that… Hopefully it will inspire the next generation though.

7.) Dream studio location? A barn in Chianti.

8.) What portrait are you working on at the moment?
A very funny lady from Dallas who loves Sargent and country music.

9.) Any (discreet) amusing anecdotes from a sitting?
 I wish I could remember them, but as most of my brain is focusing on painting the portrait only the most dramatic stories seem to register, and they will remain secret...

10.) Who would you like to paint next?  
My current sitter's husband/family. That will be proof that she likes her own portrait. Or Dame Edna Everage.

11.) Any tips for young portrait artists starting out? Learn to draw properly.

12.) Last meal you’d like to eat?
Mashed potato and lemon cheesecake. In that order. Both with cream.

Wednesday, 22 February 2017

Jamie Coreth: One minute without a paintbrush



      Our twelve big questions were put to Jamie Coreth this week.  Read below for some great tips on jazz in London, what goes into becoming a portrait painter, and why we may ban him from travelling to Scotland, he could decide never to return...


     Right, here we go....


1.)    Most influential artist on your work & why?  

Mark Coreth. Without meaning to sound too fuzzy, he's a constant source of motivation and enthusiasm for me, and helps to keep me focused on the important things. (Jamie's painting 'Dad Sculpting me' depicts his father, the sculptor Mark Coreth, sculpting him (image above). The painting won the Young Artist Award at the BP Portrait Awards 2016, National Portrait Gallery, London.)

2.)    Favourite medium & why? 

 Oil paint.... it is such a flexible medium. You can treat it like water colour if you want or build it up indefinitely...

3.)    Do you listen to music when you paint, if so what genre? 

Sometimes. And varied.... electropop through to classical. Bob Dylan, fleetwood mac, Leonard cohen all play music that is uplifting more than it is distracting.
 I listen to a lot of audiobooks.

4.)    When you’re not painting what do you most like doing?

      Looking at animals.... nice landscapes.... I like fishing, flying.... netflix, I guess, actually.

      5.)    Favourite Art Collection?   Prado 

6.)    London’s best kept secret?  606 club 

7.)    Dream studio location?   Western Highlands.

8.)    What are working on at the moment?  A couple of huge canvases. 

      9.)    Any (discreet) amusing anecdotes from a sitting? 

      I once jokingly told a portrait sitter to pop their clothes in the corner so we can get started...unamused response.

      10.)  Who would you like to paint next?

      Um... dream sitters must include Obama, Brian Blessed and Richard Leakey. 

11.) Any tips for portrait artists starting out?  
Work hard. 

      12.) Last meal you’d like to eat?   .... something seafoody. Maybe scallops.

 Thank you so much Jamie.
      
       Ur welcome.




Friday, 23 September 2016

Beyond Caravaggio, The National Gallery, London

On Wednesday 12th October, 'Beyond Caravaggio' will open at The National Gallery. This is the first exhibition of its kind, celebrating the influence and legacy of this Italian master. 

Caravaggio's first public commission was unveiled in 1600, which triggered a mass exodus of artists to Rome where they could see his work. Contemporaries were astonished by the visual and anecdotal power of his paintings and inspired by their dynamic naturalism and striking use of light. 

This exhibition unites a selection of Caravaggio's most outstanding works as well as paintings by the Spanish, Dutch, Flemish, French and Italian artists who were inspired by him, paying homage to the sensation known as Caravaggism. The exhibition runs until 15th January 2017. 

Supper at Emmaus, Caravaggio 1602-3 © National Gallery, London


Wednesday, 13 July 2016

James McNeill Whistler's legacy lives on in the work of artist Rosalie Watkins

We take a look at how James McNeill Whistler's iconic portrait of his mother inspired Fine Art Commissions' artist Rosalie Watkins: 

James McNeill Whistler was an American-born artist who divided his time between London and Paris. He is best known as a mouthpiece for 'art for art's sake' and his part in the controversial Ruskin trial of 1877.

In 1856, Whistler enlisted in Charles Gleyre's studio at the Ecole des Beaux-Arts and a couple of years later entered into business with Alphonse Legros and Fantin-Latour in order to try and make his works as widely seen as possible. Fantin-Latour's painting, 'Homage to Delacroix' placed Whistler at the centre alongisde Manet and Baudelaire, which declared his status as a member of the avante-garde in the Parisian art world.



'Homage to Delacroix', Henri Fantin-Latour, Oil on Canvas, 1864 © RMN Grand Palais (Musee D'Orsay)/Herve Lewandowski

The psychological sensitivity of the portrait is effectively conveyed through the pared down, linear composition and further enhanced by the neutral palette. This highlights Whistler's interest in Japanese prints, including 'View of the Thames', which hangs on the wall above his mother in the painting.

'Arrangement in Grey and Black No. 1' is also referred to as 'Portrait of the Artist's Mother.' This double title serves as an expression or Whistler's gradual progression from a realistic to more stylised aesthetic. 

'Whistler's painting of his mother was initially completed as part of a series of monochromatic studies, and its title (Arrangement in Grey and Black No. I) confirms his sense of detachment to it and reinforces its value as purely an exericse in aestheticism.' - Rosalie Watkins

'Arrangement in Grey and Black No. 1', also called 'Portrait of the Artist's Mother', James Abbott McNeill Whistler, Oil on Canvas, 1871 © RMN Grand Palais (Musee d'Orsay)/Jean Gilles Berizzi


'I was interested in the concept of painting flesh tones in a monochromatic setting and Kandis was wearing black and greys that made a dramatic visual impact against the studio wall. Whistler's muted palette adds to the sense of repose and stillness, but Kandis felt more dynamic, particularly with the less conventional leg crossed and trainers. The stronger visual contrast felt fitting when playing with the idea of interpreting Whistler's painting. Whistler also allowed the unpainted canvas to breathe through, which i have referenced with areas of the canvas left with just the initial wash showing through.' -Rosalie Watkins
'After Whistler,' Rosalie Watkins, Oil on Canvas, 2015 © Rosalie Watkins
Later in his career, Whistler dropped all narrative from his paintings and gave only musical subtitles to his work, reinforcing his belief in the importance of harmony over subject matter.

Tuesday, 12 July 2016

BP Portrait Award 2016

We are delighted that Fine Art Commissions has the following artists exhibiting as part of the BP Portrait Award 2016 at the National Portrait Gallery, London. 


The exhibition runs until 4th September and admission is free. 

Dad Sculpting Me by Jamie Coreth, winner of the BP Young Artist Award

Unfolding

Haydn as Henry

Wednesday, 27 April 2016

Fine Art Commissions offers an incredibly unique service that is greatly valued by our artists


‘All creative people need a Fine Art Commissions. Not just for marketing and sourcing work, but for valuable second opinions when needed.’ - Nicky Philipps




I like the fact that Fine Art Commissions is a one stop shop. I also like the competition with other artists and to be able to secure the opinion of Sara Stewart who has seen so many works of art.’ - Nick Bashall




‘If it was not for Fine Art Commissions, I’d probably be in the gutter painting portraits for my attic.’ -  Jamie Coreth