The Portrait Project

Legendary Artist Burton Silverman

There are few legends in the world of art that can claim over sixty years of experience as a painter. Burton Silverman is one of them. That’s why I was especially thrilled when Fine Art Connoisseur Editor Peter Trippi informed me that he had scheduled us to visit Burt Silverman at his studio west of Central Park in New York this past November. Burt was one of the few legendary painters I have not yet met.

 Silverman in the NYC studio he has had for 45 years.

As Peter and I entered Burt’s studio a man in his eighties greeted with the energy and spring in his step of someone half his age. Other than his greying hair there was no evidence of aging and certainly not what I expected of a man in his eighties. Following a brief exchange of niceties Burt moved right in to business.  “Lets get started,” he said. “We loose light around here pretty fast.” He proceeded to pose me and tell me that the color and intensity of light would change dramatically in two or three hours. Frankly I was a little concerned. We had scheduled five hours for the sitting and I wondered if we would get done.

 

Burt with Peter Trippi, Editor of Fine Art Connoisseur

As we got started I asked Burt to place a mirror behind his easel allowing me to see what he was painting. He started with a light brownish pre-toned canvas and before I knew it he had laid down his shadows and the structure of the drawing in a thin soupy brown and had absolutely nailed my likeness in three minutes. When I commented about his speed he said, “There is no sense in wasting time at my age.”

 

Burt painting Eric Rhoads, Publisher of Fine Art Connoisseur.

I was not watching the time but before I knew it Burt said “I think I’ll quit here” and suggested that he had all the information he needed. He snapped a photo and said he would finish it after it had dried, though “I’m pretty happy with this. I don’t think there will be much more to do.” My guess is the portrait was done in about two hours total including a brief break. And about that time the light started changing significantly so the timing was perfect.

 

The Artist from a sitters perspective.

Following the portrait I had a chance to chat some more with Burt and to look through a small pile of paintings, which included a couple of wonderful self portraits, each which spoke volumes about the mood he was attempting to portray. “A painting has no value unless it tells a story,” said Burt as he explained that in the two self-portraits he was examining how he felt about aging, which he said was on his mind a lot lately. One portrait looked deeply pensive and almost fearful, the other strong and determined, which he said were polar opposites, but emotions he was experiencing simultaneously.

 

Burt with the portrait at the end of the sitting.

It was interesting for me to view someone as vibrant as Burt as he the experiences of life in his eighties and the issues he faces such as loosing close friends, seeing people close to him experience health issues, and even a recent spill which caused a need for a hip repair (but not a replacement because his doctor said he was so strong from walking). Burt clearly had reason to be introspective, possibly frightened, which we all face at this stage of life. Yet Burt revealed his determination and strength as well, wanting to paint more of what he has not accomplished, wanting to make sure he has made the most of the remaining years of his career, striving to stay strong and healthy and determined to beat the issues anyone who exceeds eighty year’s old experiences.

 

Silverman in his studio.

When we discussed the process of painting and various artists Burt spoke of the need to speak loudly with each canvas. He strives to economize on each painting so that the viewer can fill in the blanks. “A canvas should not be so literal. You need to let the viewer think about what you’re trying to say. Don’t answer every question, “said Burt.

 The Portait at the end of the session. Burt finished the portrait from a reference photo after the painting had dried.

Perhaps because of his legendary status I had expected to meet a man who wore his reputation on his sleeve. Instead I met a man full of humility, enthusiasm for painting and life, upbeat and filled with joy and one who is proud of his past but interested more in his future. For instance he mentioned that he was digging through a pile of paintings he had done for a recent show and already felt he had grown since he painted them. “I feel the need to repaint some of them. I can do better,” he said. That to me is a sign of greatness when there is a continual challenge for growth.

 

The blank toned canvas

I’m always interested in what life was like for Burt’s generation of realist painters during the age of modernism. “We were outcasts, we were shunned and barely noticed.” He then suggested it would be a good idea to re-hang an exhibit that he and a couple of friends had painted back in the 1960s along with some newer work. He thought it would be interesting to see how relevant it still would be today. Clearly Burt, among others, played an important role in the preservation of techniques for painting at a time when they could barely survive in a world where modernism is embraced. Yet his role in teaching resulted in a new generation of interest and an age where people are more open that ever to the artwork he has been doing for six decades.

 

Silverman's Studio Exterior.

Burt will be remembered as one of the great artists of our time and I’m thrilled to have had the experience to meet with him, talk art and be painted for the pages of the magazine. His portrait will appear in the January-February issue of Fine Art Connoisseur.

Silverman and Rhoads

Note: The above image (sorry for the quality) shows Silverman with several model ships, which he built several years ago as a hobby. The tall masted ship took him over a year to complete. These were done from scratch not from models.

Reu'ven Gayle's Chalk Carving

This work of art was provided by the talented Reu'ven Gayle unsolicited. This work of art was also not featured in any of our magazines. This is his story:

"I began drawing as soon as I could hold up a pencil. At 7 I was given a Paint by Numbers set, but couldn't stand following the lines. Turning it over I did my first Plein Air painting of our back yard. At 15, in 1968, I saw a movie on TV called "The Agony and the Ecstacy," about Michaelangelo. In the opening scenes it shows Michaelangelo chipping away at a huge white block of marble. That scene turned something on inside me and inspired me. Not having a block of marble, I found a stick of chalk on the kitchen blackboard and a large hat pin and began carving. Though I've sculpted in many materials on grander scales over the years, my miniatures in chalk still continue to challenge and inspire me.

 

Seeing each artists portrait of B.Eric Rhoads in every issue of Fine Art Connoisseur magazine kept nagging at me. When I saw actual images of Mr. Rhoads doing an interview on a DVD of artist Eric Koeppel, I used some still shots from the video and created my own version of his portrait in a stick of chalk."

Here are some images of Reu'ven Gayle's artwork:

 

 

 

Alexey Steele

"Eric in White Scarf" by Alexey Steele 30 x 40

At the LA Art Show January 2012: Jeremy Lipking, Alexey Steele, Eric Rhoads, Tony Pro, and Joseph Tadoravich.

Alexey Steele is indescribable. No one I've ever met has his level of intelligence, exuberance, laughter, passion for art and music all rolled into one. He is multi-dimensional.

My feet and Alexey.

I had met Alexey a couple of years ago but was very aware of his painting and his passion, which he has exhibited at many events throughout the industry. His exuberance is sometimes misread because he tends to draw a lot of attention by being loud, laughing a lot and very commanding but his heart is golden.

One wild palette on wheels.

Alexey grew up the son of an accomplished Russian painter. He studied in Russia at the institute following the traditional Russian Academic method, which gave him wonderful training. I was, therefore, anxious to be painted and to observe his process, which I suspected would be considerably different. I was also curious if he would maintain his high level of energy after a day of painting.

Brush fight. Alexey and Tony Pro.

I arrive at his warehouse studio in Torrance, which is enormous. Painting commenced after a couple of hours of chatter. I was posed on a high model stand, which Alexey copied after one designed by Repin. (It was practical with steps and edges so the chair would not slide off.) He had just received a new canvas (Raphael) which he was marveling over so I was the first painting done on this canvas, which has become his new standard. I was also an experiment with a new set of Charvin paints, which he tried for the first time on me (thanks to Jerry's Artarama). And Rosemary had just crafted some of her amazing brushes in extra long lengths so he can paint while standing at a distance, which is important when doing a giant piece.

Alexey multi-tasked the entire time. Painting while pontificating about art, life and while carrying on an extensive conversation. His energy level never died and we painted till all the light was lost. We resumed a second full day, then waited a few months and resumed for two more.

Alexey's Studio

 

Painting at the LA Art Show FINE ART CONNOISSEUR Booth.

I was thrilled with the unique pose, the spirit he captured and the overall feel and quality of the painting. Though four days of sitting was hard to find and a rarity for me the outcome was nothing less than spectacular.

Chess anyone? Eric Rhoads, Richard Schmid and Alexey Steele at Alexey's studio.

A gathering of friends to paint on Eric Rhoads birthday (August 2011). Note portrait in the background at Alexey's studio.

 

On display at the LA Fine Art Show.

We displayed the painting (along with that of Tony Pro and Adrian Gotlieb) at the LA Fine Art Show in January 2012 and had Alexey paint on location. He drew a huge crowd (as did Tony Pro).

This time together drew Alexey and I especially close. One does not spend four days together without finding a lot of things to discuss. He is a brilliant man and his passion is unstoppable and I suspect he will play a significant role in the resurgence of realsism and history.

 

Tony Pro

The Publisher by Tony Pro

I've known Tony Pro for almost ten years and met him right before we published our first art magazine. He had just finished his training at the Los Angeles Fine Art Academy and had become a terrific draftsman. I can clearly remember our first meeting, which was dinner in LA with Tony and artist Ryan Wurmser. We shared a common passion for art.

At the time I commissioned Tony to paint a portrait of our first editor Diane Johnson. He did a terrific job. But like any good painter who puts in the hours its incredible to see how Tony's work has leaped forward and how good of a painter he has become even since those days.

Alexey Shoots a photo of Tony while painting Eric.

I was going to be in Los Angeles in 2011 to be painted by artist Alexey Steele, who is a close friend of Tony's. Since we had also commissioned Tony to do a portrait we decided that both could be accomplished in one sitting. I sat for only one day with Tony and for four days with Alexey. The result is this magnificient portrait.

The portrait at an early stage.

 

The Underpainting complete

Tony told me that it was his desire to create a portrait, which stood out. So many of the portraits' have been straight on portrait poses and he said he wanted to capture my personality as he knows me. The result, as you can see is a tender and effective approach. I think he captured it beautifully.

 

Though Tony is a young man with a young family I think he is a significant part of the new realist movement taking place in Los Angeles and will take an important place in art history. Just about anything happening in the LA area involves Tony and his two sidekicks Alexey Steel and Jeremy Lipking. He is well loved and respected as a friend and a painter.

At our recent booth at the 2012 Los Angeles Fine Art Show we displayed this work and had Tony and Alexey paint at the booth, which attracted a lot of attention.

Eric and Tony Pro at the LA Fine Art Show January 2012

 

Crowds surrond Tony Pro and Alexey Steel at the Fine Art Connoisseur Booth in LA

Max Ginsburg

Portrait of Eric Rhoads, by Max Ginsburg. Painted 12/7/2011 in New York at Ginsburg's Studio.

For decades I had heard of the exlusive Max Ginsburg who was known as a quiet man who was rarely seen in social circles and at painters events. His reputation proceeded him as he took on a status of "legend" in the circle of painters, many of whom he trained over the years. I, however had never met him or seen him around the circles I travel within.

Max on the roof of his NYC Studio (Photo Janzel Martinez)

The View from Max's studio roof (Photo Eric Rhoads)

I was painting with Maria Amour, a friend in New York, who told me she was in a weekly life group with Max. She told me what a wonderful and giving man he was, how he was very friendly and approachable and a joy to be around. It made me want to meet him even more, so I requested an introduction, which she gladly made.

Great new friends.

Max and I became fast friends over the phone and he was the oposite of what I had expected. I assumed because he had just turned 80 I would be dealing with an old man and all the things that typically go with age, but it was exactly the oposite. Max was uplifting, full of life and joy, did not appear to have any hearing issues, and had more energy than most 40 year olds I know. We talked for hours about life, painting, art and we discovered very early that we each sharred that passion.

Max signing the demo painting of Phyllis Beard. (Photo: Rhoads)

Max had lived during the time when realism was opressed. He had wanted to study realism in school and like many of his generation (and a generation after) was told that modernism was hot and realism was not. No one wanted to teach him. Fortunately his father had a big influence on his interest in realism so Max persisted to find ways to learn and self educate including emersion in painting models from life daily.

Max and I continued this relationship and he told me of his new book and his retrospective being held at the Butler Museum in Ohio, which is a highly respected institution. We had had such wonderful talks I decided that this legand should be documented so I suggested I bring a video crew to film him at the retrospective. He ageed.

It was an amazing opportunity because here was the best of his life's working hanging in a museum. I asked Max to walk through and tell me the detailed story behind every painting. He went so far as to tell me who the models were and to reconunt stories of why he created the paintings, what he was trying to say, what happened when he was painting them and every detail. I could not help thinking how valuable this will be to art historians in 100 years.

Max also agreed to do a demonstration on video so we hired a model and shot for a full day at the Butler in the basement of the church nextdoor. Though we prefer a quiet environment we ended up with every possible interuption including school kids upstairs (the building was due to be empty all day), noisy plumbing, a weed wacker outside and even a full marching band playing as they walked by enroute to a game on the campus. Fortunately we edited all that out, but it was almost comical.

Max painting a demo portrait for Phyllis Beard (Rhoads photo)

Painting of Phyllis Beard by Max Ginsburg, the demo video painting. (Rhoads photo)

Demo being filmed with 5 cameras in the basement of the church next to the Butler Museum in Youngstown, OH.

Artist Waren Chang, Model/Artist Phyllis Beard, Marion Ginsburg, Max, Eric Rhoads.

We then sent a crew to Max's studio in New York and shot him in studio, going through old paintings, his fathers paintings, and some of his early illustration work. He was obsessed with the social aspects of the Ocupy New York movement so the video crew followed him there where he did sketches and interacted with the protesters.

Back in the studio I arranged for Fine Art Connoisseur Editor Peter Trippi to interview Max about his life, his work, and the story of his life. Its a fascinating interview. Then Max decided to paint a study of my head for the magazine. So I sat while he painted me and we chatted. (I had to hold still so I did not chat too much). So we caught that on video as well.

Max being interviewed by Peter Trippi of Fine Art Connoisseur Magazine.

Max Ginsburg starting a painting of Fine Art Connoisseur Publisher Eric Rhoads

Max climbing up to the roof of his studio. (photo Eric Rhoads)

Overall we ended up with over 6 hours of video, which includes:

- A Painting demo of a portrait

- An interview with Peter Trippi

- A Walk through of his life's work at the Butler

- A documentary, including comments from friends and students

- A mini-demo of Max painting Eric.

The video can be found at http://www.ginsburgvideo.com.

Also there is a giveaway to win a painting at http://www.winginsburg.com

Max Ginsburg: The Legacy of an American Painter Trailer from Max Ginsburg on Vimeo.

 

Max is a magical guy. He is passionate about using his art to reflect life of our times. He knows that many of his subjects are difficult and thus not for some collectors but he hopes those will end up in museums as a reflection of the times in America.  He has documented much of the turmoil in America over the decades. His perspective after 50 years is worth hearing.

Max has become a dear friend and I have Maria to thank for the introduction.

Max holds the 2 hour study of Eric Rhoads at the NY Studio, all caught on video.

Nelson Shanks

Noralyn Curl a former employee of Fine Art Connoisseur and a friend of Nelson Shanks had always told me stories about Nelson and suggested that we would get along famously. She insisted that I visit him at his home and studio in Philadephia, however I could not make the schedule work due to conflicting schedules.

 

In Spring 2009 Nora phoned me and said “Nelson wants to do your portrait,” which of course was unexpected and a great honor. Obviously Nelson is one of the living great’s and it was not something to take lightly. We coordinated a date I was to visit in New York and set up a time, however we had to postpone this due to illness. I think the only person busier than me is Nelson Shanks and we had a difficult time finding a date to connect, however we landed on December 9 and 10, 2009. I was to sit for a half day each morning.

 

Little did I know the surprise awaiting me was that Nelson’s New York studio was the former Henry Henche studio off of Gramercy Park a few doors down from the National Arts Club, which I am a member. I climbed five flights of stairs to the studio, which occupies the entire top floor of the building. I was greeted by a giant window about 20 feet wide and 30 feet tall. What a magnificent studio.

 

Nelson introduced himself and showed me around the studio. Because he was working on deadline to finish a number of paintings for a show in St. Petersburg, Russia there were unfinished paintings everywhere, and a smattering of completed pieces. Every painting was already a masterpiece, even though unfinished in his eyes. Even the simple oil sketches were beyond the quality of most oil sketches I normally see.

 

Nelson and I had an instant chemistry and I found him to be absolutely delightful. I already held him in high regard but after spending time with him my respect level increased significantly. Of course we had a great deal in common because of our passion of painting technique and paintings. Nelson was kind enough to talk me though some of his techniques and his palette. (Some day when I find the time I'll post my notes.)  Of course every painter is different about interaction with the model and whether or not talking is permitted. Nelson was able to carry on fluid uninterrupted conversation without disrupting his concentration and only on a few occasions did he suggest stillness or silence while working in the area of the eyes. “I prefer that you move a little,” he said, “I think it helps the model appear less stiff and I can better reflect a real live person.” Though there were moments when he requested silence and no movement when concentrating on something specific like the eyes.

Of course Nelson was a wonderful storyteller and I got to hear stories of others who had sat in the very chair I was sitting in to be painted. Pavarotti, Princess Dianna and hundreds of other celebrities. It was quite an honor.

Nelson and I talked for a few minutes before he posed me. I had sat with my winter coat on just for a preliminary view and while we talked he shouted out "Freeze that pose." I stopped. I was leaning back at an odd angle and he loved the attitude. Of course we ran out of time with two half day sessions and we opted to spend another half day, which was just another opportunity to spend time with this very interesting man. 

 

 

Jeff Legg

Just following my move to Austin, TX in October 2009 I heard that my friend Jeff Legg was going to be doing a workshop and demo at the Fredericksburg, TX Art School. Jeff and I had become friends about a year or so earlier when I invited a group of 15 artists to visit and paint with me in Austin (which is when I fell in love with the area). Jeff was a friend of one of those artists and was invited to join us. Of course everyone knew of his work as an OPA Master and his incredible still life work.

One night when we artists were sitting around chatting Jeff mentioned that his other passion was portraiture. Suddenly he decided to do a portrait of Peter Miller. There was no light so he did it by candlelight in 45 minutes. I watched in amazement as he rapidly captured Peter in the dark. Jeff and I agreed that night that someday he would do my portrait for the magazine.

When Jeff and I connected before he came to Texas I suggested that this might be a time to do the portrait, however he felt there would not be time. I decided to visit, watch his demo of a still life, and take him to lunch. It was then that he asked me to come back at the end of the week and sit for a portrait as a demo to the class. I agreed and drove the hour or so again at the end of the week.

The day was rainy and gray and there was no significant light coming in the window so Jeff set up a light and started the portrait. He set a goal of being done before lunch and he made the goal doing this portrait with about two hours painting time in front of a class of about 20 students.

Emile B. Klein

 

Emile B. Klein sketching Eric Rhoads

September 2009: Framer Tim Holton of Holton Frames phoned me to tell the story of Emile Klein. This young man, a recent graduate of the Angel Academy of Art in Florence, has decided to travel the U.S. on his bike, ride to every state in America, and paint a series of seven portraits in each state. Tim suggested Klein paint my portrait for the magazine as part of the project. He put me in touch with Emile, who just happened to be in Oakland visiting his father. When we realized we would not be able to connect for over a year in person (Emile has been granted a one-year continuation scholarship at Angel Academy), we quickly coordinated a time to meet and paint while he was close by. A few days later, Emile arrived at my home outside of San Francisco with studio easel in hand (we insist on an in-person setting instead of paintings from photographs).

Time being a constraint (which is usually the problem), Emile decided to sketch me for likeness, take some color notes, and return to the studio to finish the painting.

Within about four hours Emile had finished enough of the sketch and color notes to use for a reference. Within a week he returned with the finished portrait, which is to appear in the November-December issue of Fine Art Connoisseur.

Emile is a perfectionist. His excellent training focused him on creating an exact likeness, which of course is rooted in drawing. Though we chatted for part of our session, mostly about art, painting techniques, life in Italy, and the strengths and weaknesses of the different schools in Florence, Emile was also disciplined enough to ask me to sit quietly at certain passages of his drawing.

This is a very poetic, intelligent, well-read young man, who is unlike most people his age. Instead of being obsessed with pop culture, his obsession is on being a great painter, art historian, and one who will carry lost techniques and arts forward to a new generation with his own spin. He takes his work very seriously and is a very impressive and focused painter.

I was stunned to see the completed portrait, mostly because the background was very nontraditional while the figure itself was fairy traditional in nature. It struck me as a blue fire (symbolic, you ask? I'll ask Emile!) and had a touch of a Diego Rivera feel to it. It is academic in execution, and yet playful. He even captured the essence of my favorite sweater, which was handmade by Adirondack artist Charles Atwood King, who — after making so many of these for the Rhoads family — decided to take up painting instead.

Adam Miller

When Fine Art Connoisseur editor Peter Trippi suggested I look at the work of Adam Miller for a possible portrait commission, I was immediately thrilled. Peter set up a session in New York and I flew in for some business and a portrait in April 2009.

Adam and I met in his Brooklyn studio, which is in a large, old warehouse that houses many artists' studios. It reminded me of similar studio building I visited in Moscow. I was delighted to meet Adam and hear his story, and I'm very encouraged to find a new breed of young figurative artists creating a new movement. Adam worked incredibly fast, and within an hour had a likeness and large canvas filled. After a few more hours together, Adam had accomplished enough to set me on my way and fine tune the painting, which ended up in his 2009 show at the Art Bar Gallery in Tiburon, CA.

Born in 1969, Adam knew what he wanted to do from childhood, and apprenticed with local Portland, OR, artist Allen Jones. He later dropped out of high school to pursue his education as an artist, and at age 16, ended up studying classical painting techniques at the Florence Academy in Italy for four years. He arrived in New York and has been supporting himself since. Adam has incredible ambition, which was shown by the giant canvas he set up for our session. Knowing there would eventually be an exhibition of these paintings, he stated, "I want to be the biggest and stand out."
 
Adam told me of his story, his passion for painting, and how he was paying the bills in between commissions and sales of his paintings: He has been restoring the art in cathedrals. With the entrepreneurial spirit of his father, Adam hired some fellow artists trained in the classics and has taken on projects others would shy away from — painting in high spots from scaffolding. The outcomes have been beautiful.

Outside the studio

Tom Hughes

 
Publisher B. Eric Rhoads
Painted in June 2009 by Tom Hughes (b. 1965)
Oil on Canvas, 24 x 18 in.
Private Collection

Rhoads (detail)

In Spring of 2009 we discovered Tom Hughes and commissioned him to paint the publisher's portrait, which subsequently ran in the July-August and the September-October issues of Fine Art Connoisseur. Tom's work had a looser look than many of the painters we've used, which was a refreshing change.

We also liked his color palette and overall style.

Sometimes when you meet someone it's instant chemistry. I met Tom at his Oakland, CA, studio, chatted about art while he studied my mannerisms and personality, and, next thing I knew, he said, "Hold that pose!" I was sitting on the couch.

Of course, the image you see above is not that painting. Rather than a full day sitting, which was tough on my schedule, Tom worked on the painting for about four hours on days one and two. We were under a time crunch because I was due to fly out for the summer in just a couple of days. At the end of day two, though almost finished, Tom asked me if I could return for one hour the following day for some final touch-up. I agreed.

When I arrived, he was ready to do the touch-up. I was standing by the window and leaning on a counter when he said, "That's it, that's the painting I should have done. Do you mind if I sketch for a few minutes?" I agreed, and before we knew it, we had two good paintings. Tom was happiest with the painting of me standing, which I agreed to use.

While some painters like it still and quiet, Tom urged me to move freely within the pose and to converse with him, which was wonderful, because we rapidly found we had many common interests in painters, art, architecture, books, music, and so much more. It's amazing what you learn about a person when you're in a conversation for many hours.

Sometimes Tom would crank up the Blues music and, at one point, he laid the brush down, picked up the guitar, and started playing along with the music. "This is how I gain perspective," he said.

View Video of Tom playing and painting: http://www.youtube.com/watch?v=vqVuAAYdPLU

While he played, he would pick up the brush and paint a touch here and there. It was a unique experience, and one I'll never forget. And he's a pretty good guitar player! He's also an excellent plein air painter and is represented by a few galleries in the East. He moved to California from Maine.

Tom's father and brother are both painters, so this came naturally to Tom. He has been sketching since he was a kid, and eventually became an illustrator for the national paper the Christian Science Monitor. He pulled out boxes of illustrations and drawings, which were world class, as are his spectacular watercolor paintings. He is clearly talented in many disciplines.

The Story of the Portrait Project

As publisher of Fine Art Connoisseur magazine, one of my goals is to further interest in classical painting techniques that had been passed on for many generations, until the modern art movement of the last 80 years. These techniques almost vanished because few wanted to paint in a truly representational manner.

Instead of a photo to accompany my publisher's column, I decided to use a portrait for the magazine and change it frequently to highlight how different artists paint the same subject. To date, many accomplished artists have painted the portrait.

Once word of this project was revealed, we learned that it has more significance than we originally anticipated. It may, in fact, have some minor historical significance, because very few individuals have been painted by multiple painters of their era. The project will not only show the aging process of the sitter, it will also portray how the contemporary artists of our time interpreted the same individual.

Discussions have already taken place about the possibility of a show of the existing portraits at museums and art venues, but we have chosen to delay this until a more substantial body of work has been created.

We have created a web page that shows the portraits and, in some cases, photos of the artist painting or the progress of the work. To access these pages, simply click on the name of the artist.