Portrait Painting RSS

51 Oil Portraits from Life: Community Remains, part one commencement of a dream
The first art school critique of my portrait paintings made it apparent that accurately representing my subjects on canvas was not enough to engage academic viewers. While I'd had relative success engaging the sentimentality of a conservative audience, the contemporary art scene was a world apart. Professors educated during the sixties and seventies held on to the "common critical trope" rejecting "the importance of portraiture to modernist art (West 187). I received even more push-back from graduate students who felt representational portraits were "anachronistic, inert, [and] crusty - a form of vanity exclusive to the rich" (Patrovich).