It’s interesting to watch artists at work on a portrait commission. For starters, its never about taking a photo then replicating that photo. The best appear to make it a process about getting to know the person, then making multiple sketches and some preparatory paintings before tackling the main commission.
Artists speak about getting to know the surface of their subject’s face, which over a series of preparatory works, becomes the equivalent of muscle memory.
Of all the genres I’ve played with, portraiture is the hardest given it has to be so much more than just a decent painting with all the usual parameters, such as colour, line, composition, contrast, surface and the ability to situate the person in a space.
Most artists commit to a self-portrait at some point in their lives. For some, such as Cindy Sherman, every work is a self portrait (sort of) as she takes on different personas.
I’ve done three self-portraits (sort of) ever. The first in art school (click here), the second an absolutely tiny one about twenty years ago for a project at the Art Gallery of Ontario, and the third, a new one completed over the last few weeks. The latest is really a preparatory painting for a full-length self-portrait in 2026.
Watching other portrait artists, it occurred to me that I should be taking time with this, doing a series of drawings and paintings in preparation for the main event, so to speak.
Given this was really just preparation for an eventual piece, I decided to work from a selfie that I may have dashed off a little too quickly — eager to get to my easel. Almost immediately I noticed that my eyes were partly obscured by my glasses. I could have abandoned it at that point and taken a new selfie — its not like I had to go far to find my model. Instead I used it as a challenge.
After I wrapped this up yesterday, I sent it out to a number of people I knew for feedback. Two thought it a total miss, one not even recognizing me. Two thought it was very recognizable, one thinking it captured me exactly.
That was a head scratcher. Portraiture can be hard simply because the physical image on the canvas may not live up to either how the individual sees themselves, or in this case, how others see me.
The other thing that portrait artists comment on is how a simply stroke of the brush can completely alter how the finished painting looks. After the feedback, I did add in a few more strokes — mostly around the glasses — but I would suggest it didn’t make that much of a difference.
I’m happy with the picture today, but may think otherwise in a week or two. But I plan on starting another today as a means of continuing to prep for that final self-portrait.
That is if the model is still willing.
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