How to solve a problem like Kate Middleton?

A lot of fuss has been made over Paul Emsley's portrait and I  think it has been terribly unfair. Painting a royal is a notoriously difficult challenge for any artist. The public are looking for a grand, beautiful and recognisable depiction of the person in question. 

However, they are figures that we are rarely seen in any state less than perfectly presented. Kate Middleton is no exception to this, in fact she is the epitome of it. You rarely see a photograph of her that does not appear to have been shot in ideal lighting, that she is not completely made up and that she doesn't sport her frankly enviable locks and her lovely smile.

I mean you just have to Google image her to see that...

So for an artist whose photo-realist approach feeds off making the imperfections in a face beautiful by celebrating the honesty of them this portrait was always doomed to have the critical lash-back that it has received. 

The artist himself said as much stating:  "The fact she is a beautiful woman is, for an artist, difficult. When you have lines and wrinkles it is much easier as an artist to capture them as a  person. Obviously she has none of that.”

Looking at his other work demonstrates this point admirably. His BP Portrait award winning painting of Michael Simpson has to be one of my favorite contemporary portraits.

This approach is not only effective when it is applied in such an extreme way or only to men, as this portrait of Katerine shows. You can see the slight bags and lines underneath the sitters eyes and the slight line on one side of her mouth which when combined with the fly away hairs over her forehead gives a much more true depiction.

To see more work by this phenomenal artist then do go to his website it really is worth it!

To make you mind up about his Kate Middleton portrait for yourself head to Room 37 in the National Portrait Gallery. It is quite different in person and if it still isn't your cup of tea then go and check out some of the other royal portraits. 

I wonder if they would be considered so fantastic if we had been barraged with hundreds of photographs of those sitters.

Lucian Freud at the National Portrait Gallery

Lucian Freud has always been one of my favorite artists so the prospect of going to see the exhibition of his body of work was tantalising!
It truly did not disappoint.
It showcased the incredible range of the individuals that he painted, from criminals to the former husband of Camilla Parker Bowles.

 The Brigadier 2003-4

The highlight of the exhibition for me was being able to see the early works of Lucian Freud as it is these works that do not translate so well to the printed image. Their incredibly precise treatment renders them slightly oppressive when printed. In person they are unfailingly brilliant with intricately rendered features, the most notable of which are the eyes.

One of my impressions of the works on display is that the only figures that look truly happy in the images are the animals, with whom he had a great affinity.

If you fancy brushing up your knowledge before the exhibition then as per a previous post I recommend Martin Gayford's book. http://articulatelondon.blogspot.co.uk/2012/02/recommended-read.html The portrait that this focuses on is included in the exhibition.



The First Actresses

The First Actresses: Nell Gwyn to Sarah Siddons 20^th October 2011- 8^th January 2012 at the National Portrait Gallery. Adults - £11 Concessions - £9

While this exhibition may not pack the clout of this years blockbusters such as the Leonardo or the Degas it is equally unmissable. With its own helping of star names including Hogarth, Gainsborough and Reynolds there is plenty to engage the visitor. I went with my father last Saturday and was shocked at the peaceful atmosphere of the exhibition, which enabled us to get up comparatively close to the works on display. A luxury that was particularly appreciated when it allowed a close viewing of the Hogarth print ‘The Strolling Players’ which gives the opportunity to revel in the intricate satirical details always to be expected in a Hogarth.

 Hogarth The Strolling Players 1738

In our day and age the Hollywood actress is revered given an almost sacred status however this exhibition charts the seedy roots of the profession in the late 17^th and 18^th centuries. The erotic tones of the portraits of Nell Gwyn the Kings mistress are plain for all to see.

Simon Verelst Nell Gwyn c.1680 and, right, c.1680-5

However the actresses inclusion in the paintings some of which (particularly those in the third room) would have graced the walls of the Royal Academy demonstrates the elevated status of these women and to some extent a level of emancipation from their traditional roles. As well as allowing the painter to experiment with less conventional poses and types.

A particular favourite of mine which encapsulates this sense of experimentation and fun is The Three Witches from Macbeth by David Gardner 1775. Which includes portraits of various prominent women including the influential and fashionable Duchess of Devonshire.

David Gardner The Three Witches from Macbeth 1775

Should the exhibition merely whet your appetite then there is its contemporary counterpart also at the National Portrait Gallery. This is in rooms 41 and 41a and is a free exhibition. There is even a very tempting Catalogue with good quality images and some interesting articles.

http://www.npg.org.uk/whatson/the-first-actresses/first_actresses_exhibition.php