page=new Array();page[1]=new Array("archive2.htm","Portrait Archive, Room 2","","This archive contains portraits and comments from earlier Old-Master Portrait of the Month pages. (Click on the portrait for a larger view; click on Detail for a detail view.) Susanna Fourment("Le Chapeau de Paille")Peter Paul Rubens, c 1622-1625Oil on panel, 31" x 21 1/2"The National Gallery, London. Since the 18th century, this striking portrait has been mistitled "Le Chapeau de Paille" (The Straw Hat). The sitter was sister to Rubens' second wife and the prominent ring on her right finger (similar to the Huneysuckle Bower portrait) may indicate her recent marriage to Arnold Lunden. Most outstanding in this work is the radiant glow of the subject's skin, achieved my Rubens' masterful application of numerous translucent glazes. Susanna's rosy complexion echoes the crimson of her silk sleeves. Her demure charm and Rubens' unsurpassed painting of glowing flesh make this an enduringly popular portrait. [ Detail ] Mademoiselle Romaine LacauxPierre-Auguste Renoir, 1864Oil on canvas, 32" x 25 1/2"Cleveland Museum of Art. This work is Renoir's earliest signed and dated portrait. At age 23 the artist was still developing his own style, but here, even with a mostly monochrome presentation, Renoir displays the distinctive warmth and charm that was to characterize so many of his later works. The pattern of shapes and curves of the dress and sleeves (also echoed in the drapery) adds a strong, unified design to the traditional pyramid format. [ Detail ] The Linley Sisters(Mrs. Sheridan and Mrs. Tickel)Thomas Gainsborough, c 1772Oil on canvas, 78" x 60 1/4"Dulwich Picture Gallery, London. Elizabeth Sheridan (with the guitar) and Mary Tickel (holding sheet music) were talented singers at the height of their fame. Gainsborough portrays them, not as glamorous performers, but as sensitive women at home with nature. In this wooded setting the sisters are at one with their environment. The colors and texture of the landscape are echoed in the rendering of their garments; and with long, loose brushstrokes throughout the painting, Gainsborough has created a work of outstanding unity and natural harmony. [ Detail ] Margaret, Countess of BlessingtonSir Thomas Lawrence, 1822Oil on canvas, 25 3/4" x 36 1/2"The Wallace Collection, London. Sir Thomas Lawrence continued the tradition of aristocratic portraits established by Van Dyck, portraying his subjects in an informal but elegant style. This work and the well-known portrait of Sarah Barrett Moulton (Pinkie) in the Huntington Art Gallery, California, are examples of Lawrence's bravura brushwork that was to influence other artists such as Eugène Delacroix. Lady Blessington was famed for her looks and accomplishments. This portait is considered to be one of Lawrence's finest characterizations. [ Detail ] Donna Velata, Raphael, c 1513Oil on canvas, 33 1/2" x 25 1/4"Pitti Palace, Florence. Raffaello Sanzio (Raphael) was the consummate Renaissance artist, applying his superlative skill to a wide variety of works, including madonnas, frescoes, portraits, religious, and history paintings. Raphael's genius was in his versatility&#151he mastered all aspects of painting. His works are composed with perfect balance and harmony, and painted with a beauty of line and color. This splendid portrait of the 'Lady of the Veil' is an example of High Renaissance portraiture at its finest. [ Detail ] Benedetto di Tommaso Portinari,Maria Maddalena Baroncelli(Mrs. Tommaso Portinari)Hans Memling, 1470Oil on panel, 17 3/8" x 13 3/8"Metropolitan Museum of Art, New York. These two portraits were originally the left and right panels of a devotional tryptich. The work was commissioned shortly after the marriage of Benedetto di Tommaso Portinari and Maria Maddalena Baroncelli, when Maria was 14 years of age. The harmonious balance and quiet serenity of these paintings are typical of Hans Memling's religious works and portraits. The influence of Flemish masters Jan Van Eyck and Rogier van der Weyden is apparent in Memling's masterful handling of paint and careful attention to detail. [ Detail ] The Binning ChildrenSir Henry Raeburn, c 1811Oil on canvas, 50 3/4" x 40 3/8"National Gallery of Art, Washington, DC. As Scotland's foremost painter, Sir Henry Raeburn was a prolific portraitist. Although a contemporary of Sir Joshua Reynolds, Raeburn did not follow the traditional method of British portraiture. He developed an original technique that anticipated contemporary painting. Working only from direct observation, Raeburn used swift and sure brush strokes that resulted in paintings of great freshness and spontaneity. In this double portrait, Raeburn places the Binning children in a diagonal composition, emphasizing each subject's head by means of the white collar. The smooth modeling of the boys' flesh contrasts Raeburn's more characteristic free brushwork as seen in the background trees and sky. Girl in a Blue Dress, Jan Verspronck, 1641Oil on canvas, 32" x 26"Rijksmuseum, Amsterdam. Dutch artist Johannes Cornelisz Verspronck may have worked in the Haarlem studio of Frans Hals. Although his portraits reveal Hals' influence, Verspronck developed his own personal style using elaborate modelling and a more detailed technique. The young subject is about 10 years old and dressed like her mother, holding an ostrich-feather fan. Her family's wealth is indicated by the jewels and by the gold braid and lace trimmings of her dress. Verspronck shows his skill in accurately rendering these details. This charming portrait is one of Verspronck's most outstanding works and is one of the most popular child paintings of the Dutch Golden Age. [ Detail ] Colonel George K. H. Coussmaker, Grenadier Guards, Joshua Reynolds, 1782Oil on canvas, 93 3/4" x 57 1/4"Metropolitan Museum of Art, New York. As painter to the king and first President of the Royal Academy, Joshua Reynolds was the most distinguished artist of 18th-century Britain. He displayed formidable talent and versatility as a portraitist, producing over 2000 works. His paintings, styled in the Grand Manner, are distinguished by their classical dignity, chromatic richness and realistic characterization. This work was painted after Reynolds had visited Flanders and Holland and reveals the influence of Rubens in the free handling of paint. The long curves of the Colonel's casual pose are echoed and balanced by the sweeping curves of the sword, tree, and horse's neck. [ Detail ] Pope Innocent X, Diego Velazquez, 1650Oil on canvas, 55" x 47 1/2"Galleria Doria Pamphili, Rome. As the greatest of all Spanish painters, Velazquez was a gifted portraitist with an eye for truth. He enjoyed a successful career in the royal court and on his second trip to Rome produced this remarkable work. The painting is universally regarded as one of the supreme masterpieces of portraiture. Velazquez applied the paint with extraordinary assurance while rendering character with keen insight. For this great achievement, the pope awarded Velazquez a gold medal, even though the pope himself describe the portrait as 'troppo vero' (too truthful). [ Detail ] The Merry Drinker, Frans Hals, 1582-83Oil on canvas, 32" x 26"The Rijksmuseum, Amsterdam. Frans Hals was one of the great seventeenth-century Dutch painters. With a limited palette, Hals gives this portrait a sparkling vitality. Almost all detail is eliminated in favor of a broad, brisk treatment. Hals' signature brushwork is evident in the bold strokes of the garments and in the fluid painting of the beard and the raised hand. The subject's face is masterfully rendered as a three-dimensional, flesh-and-blood portrait. [ Detail ] Portrait of a ManAntonella da Messina, 1475Oil on panel, 14" x 10"The National Gallery, London. Sicilian painter Antonella da Messina was one of the first Italian artists to apply Van Eyck's oil technique. Da Messina's work combined Flemish and Italian styles, and strongly influenced Venetian artists such as Bellini. This small work reveals da Messina's great skill as a portrait painter. His fluid technique and meticulous attention to detail show his mastery of oil paint. [ Detail ] More archived portraits >>   ");

page[2]=new Array("archive3.htm","Portrait Archive, Room 3","","This archive contains portraits and comments from earlier Old-Master Portrait of the Month pages. (Click on the portrait for a larger view; click on Detail for a detail view.) Orphan Girl at the CemeteryEugène Delacroix, 1824Oil on canvas, 26" x 21"The Louvre, Paris. Influenced by dramatic works of Rubens and Géricault, Delacroix became the leading painter of the French romantic movement, producing vast canvases for the annual Paris Salon. Delacroix boldly portrayed themes of violence, passion, and bloodshed with brilliant color. This fine portrait of a Greek model was a detailed oil study, part of Delacroix' preparation for his controversial work, The Massacre of Chios. [ Detail ] Lady in a Fur Wrap, El Greco, c 1577-1580Oil on canvas, 24 1/2" x 20"Pollock House, Glasgow. Born in Crete, Domenikos Theotokopoulos studied in Italy before settling in Toledo, Spain, where he was called El Greco (the Greek). El Greco is well known for his religious works of mystical intensity and distorted forms. He was also a great portrait painter, producing grand formal portraits, as well as highly personal pictures. This work, painted in a relatively naturalistic manner, is notable for its superb quality, the intimacy of characterization, and the marvelous painting of the fur. [ Detail ] Cornelis van der GeestAnthony Van Dyck, before 1620Oil on panel, 14 3/4" x 12 3/4"National Gallery, London. Flemish artist Anthony Van Dyck was a gifted painter and one of the most successful portraitists in the history of art. In 1632 he was appointed chief painter to King Charles I of England and became founder of the British school. It was Van Dyck's dazzling aristocratic portraits that influenced British portraiture for the next 200 years. This small, early work reveals Van Dyck's precocious talent for rendering likeness and flesh. The subject was an Antwerp merchant, art collector, and friend of Rubens. [ Detail ] Marguerite De Gas, Edgar Degas, c 1868Oil on canvas, 9 3/4" x 7 1/2"Private collection. For Edgar Degas, portraiture was an important part of his artistic life. Portraits, mostly of family and friends, constituted a third of his entire body of work, and were a means of artistic expression whereby he would transform 'a character head into a study of modern sensibility.' One of his favorite models was his sister Marguerite. In this small, intimate portrait, with almost sketchy brush work Degas portrays Marguerite as an intelligent and sensitive woman. [ Detail ] Bia, The Illegitimate Daughter of Cosimo I de'Medici, Agnolo Bronzino, before 1542Oil on wood, 24 3/4" x 19"Galleria degli Uffizi, Florence. Florentine painter Agnolo Bronzino was a master of the 16th-century Mannerist style. His works are noted for their cool, enamel-like beauty and precise technique. As court painter to Duke Cosimo I de'Medici, Bronzino produced a large number of highly stylized formal portraits, including individual portraits of the Duke ("Cosimo I de'Medici in Armour") and of the Medici children. Bia was described as 'the delight of the court' and her death from fever in 1542 plunged her father into grief. Bronzino has captured her delicate charm, despite the portrait's elegant formality. [ Detail ] Ranuccio Farnese, Titian, 1542Oil on Canvas, 35 1/4" x 29"National Gallery of Art, Washington, DC. Throughout his long career, Titian painted superb portraits for a string of aristocratic patrons. Twelve-year-old Ranuccio was the grandson of Pope Paul III and at the time of this commission had recently been appointed religious director of an important property belonging to the Knights of Malta. Ranuccio's wealth and status are shown by his red silk doublet and black cloak bearing the Maltese cross. In this life-sized portrait, Titian portrays the young man with sensitivity and dignity. With a limited palette and a strong, simple composition, Titian brings the subject out of shadow into the light of public life. Luminous color and garment highlights are the result of many layers of glazing with translucent oils. [ Detail ] Lady Wearing a Gauze HeaddressRogier van der Weyden, c 1435Oil on Panel, 16 1/2" x 12 1/2"Gemaldegalerie, Berlin. Rogier van der Weyden, the most influential Netherlandish painter of the mid-15th century, expressed his naturalistic style in powerful religious paintings and in formal aristocratic portraits. This early portrait, thought by some to be the artist's wife, is unusual for its time in that the female subject does not lower her eyes but looks directly at the viewer. Although portrayed with refinement and dignity, this work is more intimate and sensuous than most of Rogier's portraits. The woman's full bosom is accentuated by the folds of her fur-trimmed robe. Her seductive gaze and half-smile are framed by a gauze headdress that is neatly held in place by a solitary, tantalizing pin. One can easily imagine that by removing the pin and headdress, this charming woman would reveal a beautiful head of hair. [ Detail ] Rubens and Isabella Brant in a Honeysuckle Bower, Peter Paul Rubens, 1609-10Oil on Canvas, 70" x 54"Alte Pinakothek, Munich. Rubens was the greatest Flemish artist of the 17th century and one of the most prolific artists of all time. A genius painter of the Baroque period, Rubens enjoyed spectacular international success. His work is characterized by a free, rapid, energetic style. Many of Rubens' works are enormous in size and grandiose in theme. But this double portrait is charming, intimate, and tender. It was painted shortly after Rubens and Isabella Brant were married. [ Detail ] Doge Leonardo LoredanGiovanni Bellini, 1501Oil on Panel, 24" x 18"National Gallery, London. Bellini was the greatest figure in 15th-century Venetian painting. In perfecting the new Flemish technique of oil painting, Bellini created rich color harmonies and luminous atmosphere. His experiments with oil glazes resulted in warm, glowing paintings. This is the finest of Bellini's surviving portraits, probably commemorating Loredan's election as Doge in 1501. Although serious in characterization, the portrait is rich in chromatic harmony. Loredan's mantle is a virtuoso display of the artist's ability to depict texture with oil paint. Five hundred years after its creation, this work still radiates with luminous color. [ Detail ] Mrs Sarah SiddonsThomas Gainsborough, 1785Oil on Canvas, 50" x 39"National Gallery, London. Thomas Gainsborough was an intuitive and brilliant artist who left a glittering record of 18th-century British society. Although he preferred landscape to portraiture, Gainsborough's natural facility for capturing a likeness brought great success. Sarah Siddons was the most famous actress of the day, endowed with a commanding presence and striking profile. With his distinctive fluid brushwork, Gainsborough presents Mrs Siddons in a composition of strong unity and sumptuous color. [ Detail ] Lady Agnew of Lochnaw, John Singer Sargent, 1892Oil on Canvas, 50" x 40"National Gallery of Scotland. Sargent is considered by many to be the greatest portrait painter of the 20th century. His work is enjoying renewed appreciation at this fin de siècle. A special exibit of over 100 Sargent paintings was shown at the Tate Gallery, London, in the fall of 1998, followed by the National Gallery of Art, Washington, in the spring of 1999 and the Museum of Fine Arts, Boston, in the summer of 1999. A favorite of many visitors to the Sargent exhibit is this ravishing portrait of Lady Agnew. The painting won great acclaim at the 1893 Royal Academy exhibition in London. It was praised for its subtle modeling of form and light, and for its broad handling of paint. With exquisite color harmonies, this lovely portrait captures Lady Agnew's delicate grace and beauty. [ Detail ] Monsieur Bertin, Dominique Ingres, 1832Oil on Canvas, 46" x 37", The Louvre, Paris. French artist Dominique Ingres was a champion of tradition and of Neo-Classicism. Ingres was a disciplined student of the Old Masters, was himself a master of graceful line, and was one of the greatest portrait painters of the 19th century. An exhibition of his portraits is presented at the National Gallery, London in the spring of 1999 and at the National Gallery of Art, Washington in the summer of 1999. With a subdued and limited palette, this painting (called the "Buddha of the bourgeoisie") shows the subject in a direct, forceful pose. The portrait conveys a sense of importance appropriate for Monsieur Bertin, owner of the influential Journal des Debats. [ Detail ] ");

page[3]=new Array("archive.htm","Portrait Archive, Room 1","","This archive contains portraits and comments from earlier Old-Master Portrait of the Month pages. (Click on the portrait for a larger view; click on Detail for a detail view.) Antea Parmigianino, c 1531 - 1534 Oil on canvas, 53 1/2" x 33 3/4" Museo di Capodimonte, Naples Parmigianino, born in Parma, Italy, became one of the most influential artists of the Mannerist period. Parmigianino's art is noted for its elegance, sophistication, grace, and sensuality. This remarkable work, recently on display at the Frick Collection in New York, has tantalized scholars for centuries. In spite of various iconographic clues in the painting, the sitter's identity remains unknown. Parmigianino has created a masterpiece of beguiling beauty. Although depicted as timeless and idealized, the subject's youthful humanness is strikingly portrayed. For a detailed description of the painting and its symbolisms, visit the Frick web site. Louise de Kéroualle, Duchess of Portsmouth, c 1671 - 1674 Peter Lely Oil on canvas, 48" x 40" The J. Paul Getty Museum, Los Angeles Dutch artist Peter Lely was active in England as portrait artist to King Charles I and Principal Painter to the restored monarchy of King Charles II. Influenced by Van Dyck and painters of the Venetian Renaissance, Lely's prolific output includes portraits of langorous court beauties, vigorous military men, and thoughtful intellectuals. According to poet Alexander Pope, 'Lely on animated Canvas stole/The sleepy Eye, that spoke the melting soul.' In this seductive and elegant portrait of the king's favorite mistress, Lely borrows a classic pose, that of Isaiah from Michelangelo's Sistine Chapel ceiling. In addition to being the most fashionable portrait artist of his day, Lely was a major art collector. He died at his easel in Covent Garden, while painting a portrait of the Duchess of Somerset. [ Detail ] Portrait of a Woman Mary Cassatt, 1872 Oil on canvas, 23 1/4" x 19 3/4" Dayton Art Institute, Dayton, OH This early work of Mary Cassatt was painted during a stay in Parma, Italy, where she studied the work of High Renaissance master Correggio. The influence of the Italian master is clearly shown in the chiaroscuro and soft, golden light of this painting. Cassatt is well known for her association with Impressionism and for her sensitive portrayal of women and children. This portrait of an unnamed peasant woman reveals that Cassatt's talent and sensitivity were well expressed quite early in her career. [ Detail ] Master James Hatch as Marshall's Attendant at the Montem, Eton, 1796 Sir William Beechey Oil on canvas, 73" x 52 1/2" Legion of Honor, San Francicso, CA William Beechey was the foremost portraitist in Britain during the late 18th and early 19th century. He enjoyed one of the longest careers in the history of the Royal Academy, exhibiting there for over sixty years. Beechey was appointed court painter to Queen Charlotte, wife of King George III, and painted portraits of members of the royal family. As the portrait painter of the day, Beechey rendered the fashionable elite of Georgian society—including children—with aristocratic dignity. This portrait, showing a pupil at Eton in military uniform, is a fine example of the quality of work produced by Beechey at the height of his career. The somber tone of earlier works is replaced with a lighter palette and more spontaneous brushwork. [ Detail ]Jacopo Strada Titian, 1567/68 Oil on canvas, 49 1/4" x 37 1/2" Kunsthistorisches Museum, Vienna Titian dominated Venetian art for 60 years, creating a huge body of work, including some of the finest portraits ever painted. The outstanding Kunsthistorisches Museum collection in Vienna contains four superb Titian portraits, including this painting from his later years. Hapsburg courtier Jacopo de Strada was a naturally gifted, true 'Renaissance man.' He was a scientist, architect, engineer, writer, artist, numismatist, and linguist. As an art collector and dealer, he provided Titian with commissions for his painting. Titian's portrait of Jacopo Strada is a particularly energetic work, depicting his multi-talented subject in lively action. The broad handling of paint with a heavily loaded brush is typical of Titian's mature style. [ Detail ] Archbishop Laud Anthony Van Dyck, 1635Oil on canvas, 47 1/2" x 37 3/4"Fitzwilliam Museum, Cambridge One of the finest small museums in Europe, the Fitzwilliam contains works by Titian, Rubens, Hals, Degas, Renoir, and many others. While living in north London, it was a pleasure for me to make regular studies of this fine collection in nearby Cambridge. This portrait by Van Dyck, based on a composition by Titian, was widely acclaimed and imitated. Over forty version were painted in the seventeenth century. Van Dyck was noted for the lifelike depiction of his subject's hands, and this portrait is an excellent example. Van Dyck's masterful handling of paint also is clearly evident in the convincing portrayal of draperies. The archbishop's expressive hands and his authoritative, penetrating gaze reveal a work of superb insight and sensitivity. [ Detail ] Eduouard ManetHenri Fantin-Latour, 1867Oil on canvas, 46 1/4" x 35 1/2"The Art Institute of Chicago Admired for his still-life paintings of flowers, Henri Fantin-Latour was also an accomplished portraitist whose work reveals the influence of Gustave Courbet's realism. Fantin-Latour met Manet at the Louvre in 1857 and they became close friends until Manet's death in 1883. In two other works, Homage to Delacroix (1864) and Un Atelier aux Batignolles (1870), Fantin-Latour depicts Manet with a group of friends—avant-garde artists and writers. Here, though, Manet is portrayed by himself and the portrait describes him exactly as he was: a sophisticated bourgeoisie Parisian gentleman, a meticulously dressed man of refinement. Set against a neutral background, the painting is rendered in mostly subdued tones. Fantin-Latour presents his friend as dignified and sympathetic. [ Detail ] Above the artist's signature at lower left is an inscription that reads, "A mon ami Manet." Miss Mary EdwardsWilliam Hogarth, 1742Oil on canvas, 49 3/4" x 39 7/8"The Frick Collection, New York. Eighteenth-century painter and engraver William Hogarth was an accomplished portraitist with a keen eye and skilled hand. As inventor of the modern moral narrative genre, he portrayed British life with biting satire and sharp perception of character, becoming known as the Shakespeare of painting. Mary Edwards was one of the wealthiest women in England and a loyal patron of Hogarth. This masterpiece displays the vigor and freshness of Hogarth's technique, particularly in the rich fabric of the dress and in the rendering of jewellery and ruffles. [ Detail ] See the painting close up with the Zoomify feature at the Frick web site. Cecilia Gallerani(Lady with an Ermine)Leonardo da Vinci, c 1484Oil on panel, 21 1/2" x 15 3/4"Czartoryski Museum, Kraków, Poland. Although he finished comparatively few paintings, Leonardo da Vinci was a versatile genius and one of the greatest artists of the Renaissance. This portrait of Cecilia Gallerani, young mistress of Lodovico Sforza, Duke of Milan, is one of three famous Leonardo portraits, the other two being of Ginevra de' Benci (at the National Gallery of Art, Washington, DC) and Lisa Gherardini (the Mona Lisa, at The Louvre, Paris). The ermine's white fur was a symbol of chastity and purity and the animal was one of the emblems on the Duke's coat of arms. Also, the Greek word for ermine is a pun on the sitter's name. Leonardo has rendered Cecilia's gaze, turning from shadow to light, and the animal's predatory expression with equal mastery. [ Detail ] Girl with a Pearl EarringJohannes Vermeer, c 1665Oil on canvas, 17 1/2" x 15 3/8"Mauritshuis, The Hague. One of the most highly regarded Dutch artists of all time, Vermeer produced a small body of work of exceptional beauty and clarity. This outstanding painting is remarkable for its immediacy and delicacy. It is not a true portrait but, rather, a figure painting or idealized study. With his flawless technique and sensitivity to light, Vermeer has produced a work that is simple and spellbinding. The girl's face is broadly rendered yet convincingly natural. Her shining eyes and moist lips echo the luster of the pearl earing. The pearl is in fact a metaphor for the girl herself. [ Detail ] Walt WhitmanThomas Eakins, 1888Oil on canvas, 30 1/8" x 24 1/4"Pennsylvania Academy of the Fine Arts, Philadelphia. As director of the Pennsylvania Academy of the Fine Arts, Thomas Eakins had a profound influence on American art. Eakins was a keen student of science and teacher of anatomy. This portrait of American poet Walt Whitman reveals the influence of Rembrandt and Velazquez in Eakins' work. The subject's head is finely sculpted in a realistic, painterly fashion and Eakins displays his talent for psychological penetration. [ Detail ] Self PortraitBartolomé Esteban Murillo, c 1670-1673Oil on panel, 48" x 42 1/8"The National Gallery, London. 17th-century Spanish artist Bartolomé Esteban Murillo was renowned throughout Europe for his spiritual paintings, depicting humanized madonnas and saints. This self portrait is one of his finest works. Murillo's technical skill and splendid coloring influenced later British painters Reynolds and Constable. Besides his religious works, Murillo excelled at painting affectionate and touching studies of peasant boys and girls. These genre works, such as A Flower Seller, have been much admired and frequently copied. [ Detail ] More archived portraits >>   ");

page[4]=new Array("demo2.htm","Portrait Demonstration, 2","","This page presents a demonstration of the Venetian technique used by the artist to produce a copy of Bronzino's Lady in a Red Dress (shown on the What's New page). The artist's usual Old-Master technique for working with live subjects is shown on the previous page. The Work in Progress page presents a more detailed development of a painting from start to finish. (Click on the portrait for a larger view; click on Detail or Zoom for a detailed view.) 1. Underpainting The canvas is primed with a light imprimatura of Venetian red, over which the drawing is laid. Except for the flesh, the entire picture is underpainted in monochrome, establishing the appropriate light and dark values that would later be glazed with color. The hair is underpainted in burnt umber; the rest of the underpainting is tones of grey. 3. Modeling the head and hands Over the green underpainting, the head and hands are modeled by dry brushing the highlight areas with white paint. By lightly scumbling the halftone areas, the green underpainting shows through the white. 4. Color glazing Color is applied to the background, chair, and garments with a series of semi-transparent layers. Each color glaze has the same value as the monochrome underpainting. 5. Glazing the flesh After rendering the lap dog and the subject's hair, the face and hands are repeatedly glazed to a level of detail similar to Bronzino's original. These glazes give life to the flesh and complete the portrait. ");

page[5]=new Array("demo.htm","Portrait Demonstration, 1","","This page presents a demonstration of the artist's oil portraiture technique. The sequence of pictures shows an actual work in progress, using fine-art techniques adapted from the Old Masters. The work was produced on a 20" x 16" linen canvas. Detail of the glazing technique is shown on a separate page. A second demonstration featuring an alternate Venetian technique is shown on the next page. The Work in Progress page presents a more detailed development of a painting from start to finish. (Click on the portrait for a larger view; click on Detail or Zoom for a detailed view.) 1. Initial layout On the primed canvas, a light charcoal contour sketch defines the layout of the composition. In this early foundation stage, careful attention is given to accuracy of line and proportion, in order for the portrait to be a true likeness of the subject. The white canvas will reflect light through the subsequent layers of underpainting and glazing. 2. Underpainting The underpainting is a fairly detailed portrait in monochrome. Pigment is applied thinly. This stage completes the foundation, with form and space defined by light, dark and halftone values. 3. Background and garments After the underpainting has dried, basic colors for the background and subject's clothes are blocked in. These colors will affect the flesh tones applied subsequently. 4. Rendering the portrait Working from dark to light, and from thin to thick paint, hair and flesh colors are added. The portrait is rendered as a series of semi-transparent layers. These glazes give the flesh a luminous quality that is unique to the oil medium and a hallmark of the Old Masters' fine-art technique. 5. Final details After further glazing the flesh, background and garments, highlights and details are added to the painting. Compared to the carefully controlled brushwork of earlier stages, finishing touches are executed with lively strokes. ");

page[6]=new Array("faces.htm","Faces of the Masters","","This page presents self portraits of master artists whose works are displayed at this site. To view the face of a master, select from the list below. Self portraits provide us with a fascinating view of master artists. We're naturally curious as to their physical appearance, but their self portraits often show us far more than their facial features. In many cases, the self portrait is a means of self study for the artist, a way to explore and reveal character and emotion. Rembrandt, for example, chronicled his entire artistic life through scores of psychologically penetrating self portraits. Beechey, William Botticelli, Sandro Bouguereau, William-Adolphe Capet, Marie-Gabrielle Cassatt, Mary David, Jacques-Louis Degas, Edgar Delacroix, Eugène Delaroche, Paul Eakins, Thomas Fantin-Latour, Henri Fragonard, Jean-Honoré Gainsborough, Thomas de Goya, Francisco el Greco Hals, Frans Hogarth, William Holbein, Hans Ingres, Dominique Lawrence, Thomas Lely, Peter Thomas da Messina, Antonella Murillo, Bartolomé Esteban Parmigianino Picasso, Pablo Pontormo, Jacopo Raeburn, Henry Raphael Rembrandt van Rijn Renoir, Pierre-Auguste Reynolds, Joshua Romney, George Rubens, Peter Paul Sargent, John Singer Titian Van Dyck, Anthony Velazquez, Diego da Vinci, Leonardo Whistler, James McNeill Winterhalter, Franz Xaver. ");

page[7]=new Array("faq.htm","FAQ","","1. Why have a portrait painted, and why oil on canvas? Commissioning an oil portrait is a unique way to recognize achievement, celebrate success, or treasure a remembrance. Dave's paintings are crafted to show character and interest. The depth and luminosity of oil painting in general—and flesh tones in particular—cannot be matched in any other medium. With the traditional academic techniques that Dave uses, an oil painting can last beyond a lifetime; it can be preserved as a precious heirloom and as a work of fine art. 2. How much does an oil portrait cost? It depends on the size of the portrait, the amount of detail in the work, and other factors. For a custom work of fine art and lasting value, you will find that commission rates of Portraits by Turner are both reasonable and competitive. See Price Guide for details. 3. Is there an artist's agent or gallery to work through? Dave prefers to work directly with his portrait clients, rather than work through an agent or gallery. With direct consultation, work on a portrait usually can get started and completed sooner. Also, there is less likelihood of any misundertanding between the artist and client. 4. How long will I have to sit? After a brief initial sitting, the canvas is painted from sketches and selected reference photographs, without the subject being personally present. A brief, final sitting may be necessary as the portrait nears completion. See the Portrait Process for more details. 5. What's involved in commissioning a portrait? — I live a long way from the artist's studio. Dave is available to travel nationwide for the initial consultation and sitting. He will return to his studio to complete the portrait. Alternatively, a portrait can be commissioned and produced with neither the artist or client having to travel. The portrait process is essentially the same for local or long-distance clients. For the convenience of his long-distance clients, the artist consults by phone, mail, or e-mail. To consult with you regarding a commission, Dave needs a large color photograph. (Please contact the artist for specifics.) After the portrait details and commission rate are agreed, Dave will complete the underpainting and mail you a photo of it. At this point, 50% of the commission is due. The remaining 50% is due after you approve a photo of the finished portrait. The portrait will be shipped pre-paid by ground carrier. If you prefer, you may accept the extra charges of overnight and/or insured delivery. 6. What about portraits of infants or toddlers? To capture the warmth and delight of young children, high-quality reference photographs are essential. During your consultation with the artist, he will make appropriate recommendations based on the age and personality of the child. See the Portrait Gallery for an example of a toddler's portrait. 7. Can portraits of pets be commissioned? Dave prefers to work with human subjects, although he has been known to make exceptions. For example, a family group portrait may include a pet as part of the composition. See the Portrait Gallery for an example of an unusual pet. See also the portrait Lady in a Red Dress on the What's New page. 8. Can I commission a posthumous portrait? Yes, this is quite possible if there are suitable photographs of the deceased. See question 5 for details on how portraits can be done without face-to-face contact between the artist and subject. 9. Can I have changes made to my portrait? Minor corrections can be made as the work is close to completion. Significant changes are rarely necessary if sufficient time is taken at the initial consultation to reach a mutual understanding. Also, if the finished underpainting is carefully reviewed by the client, later corrections are seldom required. 10. Can I commission a still life or landscape? Dave prefers to accept portrait commissions. In some portraits, it may be possible to include still-life elements in the composition, or a landscape in the background. See the Portrait Gallery for an example. Occasionally, Dave does non-portrait work (see Other Works). Please check with the artist to discuss what you have in mind. 11. Can I get a portrait painted in pastel or watercolor? Dave's medium of choice is oil. Each medium requires special techniques that take time and skill to master. Dave has devoted his efforts to the oil painting techniques of the Old Masters. This is his specialty. He rarely works with pastels or watercolor. 12. What is the mailing address for Portraits by Turner? Send mail to Portraits by Turner, c/o Dave Turner, P.O. Box 1638, Apex, NC 27502, USA 13. What is the e-mail address for Portraits by Turner? Send e-mail to Dave Turner at dt@portraitsbyturner.com 14. What is the artist's background? Dave received his art education in London, England and has painted in oils for over 25 years. He applies portrait techniques used by the Old Masters and couples these techniques with more modern methods and materials. Dave has developed a method and style of portraiture that satisfies clients with realism, characterization, and lasting value. Dave has chosen not to compete for prizes or recognition, and not to have gallery representation. His time and artistic energy are focused exclusively on painting portraits. His client base is built up largely through referrals recommending his work. 15. Any relation to J. M. W. Turner? No, but Dave is an admirer of the famous British painter's work. Dave especially likes his namesake's light-filled, atmospheric seascapes such as The Fighting Temeraire. 16. Can I commission a portrait from overseas? Although Dave paints all portraits in his home studio, he travels internationally and is available world wide for the initial consultation and sitting. The finished canvas is shipped prepaid and ready for framing. The client covers the artist's travel expenses as well as fees for a local agent who represents the artist and processes all necessary customs documents. For further details, please contact the artist by e-mail. ");

page[8]=new Array("gallery1.htm","Portrait Gallery","","Portraits in this gallery are typical of Dave Turner's work. The examples show male and female subjects of various ages. Notes accompanying each portrait present the artist's comments on style and composition of the work. (Click on the portrait to go directly to the gallery room.) ");

page[9]=new Array("gallery1a.htm","Portrait Gallery, Room 1","","(Click on the portrait for a larger view; click on Detail or Zoom for a detailed view.) Daphne LadinesOil on canvas, 20" x 16" In this work, the cello allows for a simple yet strongly unified composition. The opposing axes of instrument and subject intersect at the subject's hand, so that the hand is not just holding the cello but also holding the composition together. Curves of the instrument are repeated in the pearls, and in Ms. Ladines' hair and face. A subdued palette was used, appropriate for a formal portrait of this type. Ms. Ladines' eyes were carefully rendered, showing the cellist as alert, intelligent, and sympathetic. [ Detail ] [ Zoom ] Dr. R.W. BartlettOil on canvas, 36" x 24" In this portrait of a prominent eye surgeon, the lab coat occupies a large area of picture space. The challenge was not to allow an expanse of cool white to neutralize the warmth of Dr. Bartlett's personality. To accomplish this the coat is filled with warm shadows and emphasis is given to the collar, directing attention toward the subject's face. Background elements—arranged to give depth and balance to the composition—are subordinated in soft shadow. In the lighted foreground, Dr. Bartlett's glasses, wedding ring, pen, and tie provide accents that lead the viewer's eye in a sweeping curve from the subject's right hand to the warm, engaging expression of his face. Placement and rendering of the surgeon's hands were given special attention. [ Detail ] Jazmyn & TevanOil on canvas, 24" x 20" The composition of this high-keyed double portrait emphasizes the affectionate bond of brother and sister, aged 9 and 7 years. The viewer's eye is led from Jazmyn's arms to her face, along Tevan's shoulder to his face and back down through his tie. The cool colors of garments and background contrast and highlight the warm flesh tones of these attractive children. [ Detail ] [ Zoom ] Hugh Thomas StubbsOil on canvas, 24" x 18" The subject's pose and the predominant blue of the composition suggest calm and relaxation. This mood is appropriate for Mr. Stubbs, a retired educator and man of quiet dignity. The newspaper adds interest to the composition, while the angles of the leg and tie lead the viewer's eye to Mr. Stubbs' attentive face. [ Detail ] [ Zoom ] ");

page[10]=new Array("gallery1b.htm","Portrait Gallery, Room 2","","(Click on the portrait for a larger view; click on Detail or Zoom for a detailed view.) Damon SheffOil on canvas, 20" x 16" Mr. Sheff has striking masculine features, but this portrait captures his introspective character. The simple composition and subdued lighting allow nothing to detract from the subject's contemplative gaze. The face is surrounded by a subtle color harmony, with reds in the background and greens in the garment shadows. [ Detail ] [ Zoom ] ShaalaOil on canvas, 14" x 11" This portrait presents the more grown-up side of 8-year old Shaala's personality. Her fair complexion, graceful hands, and lace dress convey a charming, delicate femininity. The position of Shaala's hands on the chair arm adds depth to the composition. The slope of her shoulders parallels the chair arm and is balanced by the tilt of her head. An impressionist style was used for the background, painted with youthful colors that complement the purple dress. [ Detail ] LilianaOil on canvas, 24" x 18" Instead of the usual three-quarter view of the face, this portrait shows the subject full face, giving the work an immediacy and directness that reflects Liliana's outgoing and engaging personality. The bold, bright red of her sweater and her position on the chair add to the directness of the painting. Lighting for this portrait emphasizes the subject's fine Portuguese features, her dark eyes, and her full black hair. [ Detail ] [ Zoom ] TravisOil on canvas, 10" x 8" Painting toddlers can be a challenge, but this work was a pleasure to create. The portrait reveals Travis' playful nature and happy disposition. The composition does not include the usual toys and teddy bears, but instead focuses attention entirely on the subject's lively, expressive face. ");

page[11]=new Array("gallery1c.htm","Portrait Gallery, Room 3","","(Click on the portrait for a larger view; click on Detail or Zoom for a detailed view.) JoeleneOil on canvas, 36" x 24" The main feature of this composition is the long curve of the iguana's tail and torso. The curve is subtly echoed in the background shadows and is balanced by the strong vertical of the subject and the horizontal of her forearm. Cool blues and greens in the background, as well as in the iguana and garments, accentuate the color of Joelene's hair; dark shadows contrast her fair complexion. The reptile's stripes are a stepladder for the eye, leading to the focal point of the portrait. Gazing at Joelene's attractive features and winsome smile is an experience shared by the lizard and the portrait viewer—but only the lizard is embraced. [ Detail ] [ Zoom ] Judy and JenniferOil on canvas, 20" x 16" The softened forms, muted colors, and high key of this double portrait suggest gaiety and femininity. Background colors were carefully selected to unify the compostion and to harmonize with Jennifer's dress and with the different complexions of mother and daughter. Lady in BlueOil on canvas, 36" x 24" This portrait has as its basic, abstract composition a triangle and a rectangle. The face, flower pot and left hand form the three points of the triangle. The rectangle of the screen panel encloses the subject's head like a secondary picture frame. For the color composition, warm reds and browns balance the dominant cool of the turquoise garments. The tulips are painted slightly out of focus so as not to compete with the face. [ Detail ] Self PortraitOil on canvas, 20" x 16" Different techniques were used for these two paintings. The version on the left was painted with the technique shown in the Portrait Demonstration. The version on the right [ Zoom ] was painted with Titian's technique of underpainting flesh tones in grisaille (grey) over a canvas toned with Venetian red. Self Portrait, 2006Oil on canvas, 20" x 16" This portrait was painted with only three earth colors, plus black and white. Rembrandt is well known for using a very restricted pallete and this technique, though challenging, affords excellent color harmony. The three colors I chose were yellow ochre, Venetian red, and burnt umber. ");

page[12]=new Array("gallery2.htm","Non-portrait Works","","This gallery contains a sample of non-portrait work by the artist. Accompan-ying each picture is a brief note describing the artist's view of key elements of style and composition. (Click on the picture for a larger view; click on Detail or Zoom for a detailed view.) Wine and Fruit Basket, Oil on Linen Canvas, 16" x 20" This still life is a study in color and texture. The open, elevated style of the basket lifts the main fruit group off the counter and into center of the composition. The viewer's eye is led into the picture from the knife handle and through the wire frame of the basket to the fruit. The vertical bottles, foreground fruit, and receding diagonal of the counter provide balance and contrast. [ Detail ] [ Zoom ] Lake Washington Sunset, Oil on Linen Canvas, 16" x 20" In this landscape, the horizon and silhouetted pine trees divide the picture plane into rectangles, creating an abstract pattern that is restful and static. The dominant rectangle provides a sub-frame for the focus of interest: the dramatic, angular sweep of late-summer evening clouds. These bold diagonals contrast the vertical trees and flat horizon. A warm atmospheric glow was achieved by glazing the sky and lake colors over a canvas primed with red. White Tulips, Oil on Linen Canvas, 20" x 16" In this composition, the intersection of table and walls divides the picture plane into three segments of similar shape but of different tonal value. The subject and its shadow tie the three segments together. Besides the obvious color and tonal contrasts of the flowers and their setting, a strong temperature contrast is evident in the coolness of the white flowers painted against the warm reds and browns of the background, mahogany table, and oriental vase. In addition, there is a contrast of texture between the softness of the petals and the surrounding hard surfaces. Oranges and Oriental Jar, Oil on Linen Canvas, 18" x 14" In the quiet composition of this still life, the large jar has a monumental quality as it dominates the picture space. The strong horizontals of the wooden shelf give the work a restful stillness. Leaves and shadows add depth to the picture and help balance the mass of the main forms. The blue decoration of the jar complements and accentuates the vibrant color of the oranges. [ Zoom ] David Charcoal12" x 8" Aphrodite (Venus de Milo) Charcoal12" x 8" These drawings of famous sculpture are made with black and white charcoal on textured paper. The neutral color of the paper provides half-tones for the drawings, which emphasize classic lines of the human form. ");

page[13]=new Array("gallery3.htm","Old Masters' Gallery, Room 1","","On this page is a small sampling of Old-Master portraits. The works are typical of the style and techniques that have influenced my painting. These are portraits that I have personally viewed and studied. They are powerful and inspirational works. Even in digitized format they are impressive. Master portrait copies that I have painted are shown in Room 2. To view additional master portrait originals, please check the Portrait of the Month and Portrait Archive pages.— DT The Laughing Cavalier, Frans Hals, 1624 Canvas, 33" x 26" Wallace Collection, London This stunning work is one of the world's most famous portraits. Hals' brisk, energetic brushwork brings spontenaity and vitality to his portraits. The embroidery detail in this work is a technical tour de force that complements the superb, lively portrait of this unnamed young man with the smiling eyes. 40" x 33" National Gallery, London The greatest of all Dutch painters and one of the supreme artists of all time, Rembrandt was brilliant and versatile. His works are noted for their strong chiascuro contrast and heavy impasto highlights, but it's the compassionate handling of his subjects that gives Rembrandt's portraits their universal appeal. Portrait of a Man, Titian, c 1510 Canvas, 32" x 26" National Gallery, London As the greatest painter of the Venetian school, Titian displayed superlative skill, sensuous color, and expressive brushwork. This work reveals an energetic human presence, a wonderfully self-assured pose and confident gaze. The striking blue sleeve is beautifully painted and appears to project out from the picture space. Lady with a Fan, Diego Velazquez, c 1640 Canvas, 37" x 28" Wallace Collection, London This is a rare example of Velazquez' portraiture outside the court of Philip IV of Spain. Velazquez was a gifted painter who possessed an extraordinary ability to convey the inner life of his subjects. He communicated their essential humanity with keen psychological penetration. ");

page[14]=new Array("gallery3a.htm","Old Masters' Gallery, Room 2","","This page presents copies of Old Master portraits that Dave Turner has painted. Producing copies of earlier great works was common practice with many master artists of the past. Rubens, for example, continued to copy works by Titian and others throughout his career, even long after his own reputation as a master was well established. According to Dave, "painting a copy of a master work is for me a labor of love that always proves to be an enriching educational experience." Lady Agnew of Lochnaw Oil on canvas, 48" x 36"After John Singer Sargent, 1892.National Gallery of Scotland, Edinburgh."Sargent's stunning portrait of Lady Agnew has always attracted me for its bravura brushwork and superb color harmonies," says Dave. "In this rendering, I have not attempted to copy Sargent's unique style. I have modeled the subject's face with more finished detail, and the fabric is rendered more softly. Also, the canvas size is slightly different from the original. At the time of the original painting, Lady Agnew was unwell. I have endeavored to portray her as she would have looked in better health." Even with these adjustments, the portrait maintains a powerful impact. [ Detail ] [ Zoom ] Young Woman Seen From the BackOil on canvas, 18" x 14"After Jean-Baptiste Greuze(1725-1805)The Prado, Madrid.Greuze was hugely popular in his day for painting narrative scenes in the moralistic genre. Lithographs of his works were widely distributed. As a skilled draftsman, Greuze produced many portraits and character studies. The young woman in this portrait, presented in the form of a bust, engages the viewer with a lively expression. In this rendering, Dave has retained the line and form of Greuze' original, but modified the flesh tone and overall color scheme. [ Detail ] [ Zoom ] Madame Barbe de Rimsky-Korsakov Oil on canvas, 48" x 36" After Franz Xaver Winterhalter, 1864 Musée d'Orsay, Paris.This life-size portrait showcases the artist's rendering of fabric and flesh. According to Dave, "This is one of my favorite works at the Musée d'Orsay. It's an arresting portrait. Winterhalter has portrayed his subject with beautiful, pearlescent flesh and a soft, sensous charm. Painting her garment was an interesting challenge for me since the style is vastly different from what we are used to seeing in the 20th or 21st century. But even though the garment takes up a third of the picture space, it's the subject's head that is the focus of attention. The sweeping curves of hair, ribbons, and arms all lead the viewer's eye to Madame Rimsky-Korsakov's lovely face." [ Detail ] [ Zoom ] Lady in a Red Dress Oil on canvas, 28" x 22"After Agnolo Bronzino, 1530Städelsches Kunstinstitut, Frankfurt The bright red of this elegant and attractive woman's dress is balanced by the dark green of the sleeves, chair, and background. Highlights in the rosary, the hardware on the chair, and the subject's gold chain and head piece provide accents for the painting and interest for the eye. The rosary and lap dog [ detail ] are symbols of piety and marital fidelity. The original work was formerly attributed to Bronzino's mentor Jacopo Pontormo. It's a larger painting (35" x 27 1/2"), and is referred to also by the title A Lady with a Dog. According to Dave: "This is not a stroke-for-stroke copy. Instead, I have applied my own technique to Bronzino's superb composition of color and line. Learning from the great masters is a continual process. Although we do not have great masters such as Bronzino with us today, original works from past centuries provide us with inspiration and education. This work was a rewarding pleasure, from start to finish." [ Detail ] [ Zoom ] [ Demonstration ] ");

page[15]=new Array("glazing.htm","Glazing Technique","","Early Italian renaissance painters portrayed rich color and luminous atmosphere by the use of oil glazes. Instead of mixing color on the palette, pure colors were applied to the canvas in a sequence of separate, thin, transparent layers, producing a combined chromatic effect. In the 16th century, Titian introduced mixed, or 'broken,' colors. These colors also can be applied as glazes, with glowing results. Titian is said to have applied dozens of glazes to some of his paintings. Glazing was a traditional part of the academic painting process for centuries. The technique was used extensively by master painters until the end of the nineteenth century, when French Impressionists employed the 'direct' painting method to immediately capture the transitory effects of daylight. Although glazing is slower than direct painting, this Old-Master technique is unmatched for luminous color. The example here is a detail from the Portrait Gallery. Over the grey/green verdaccio under-painting, numerous flesh glazes were applied, with different glazing colors for shadow, half-tone, and lighter passages. ");

page[16]=new Array("index.htm","Fine Art Portraits in Oil by Dave Turner","","Welcome to the home page of Portraits by Turner. At this site you can view the work of British artist Dave Turner, who specializes in painting oil portraits using fine-art techniques of the Old Masters. Working in the United States for the last 25 years, Dave has developed a method and style of portraiture that satisfies his clients with traditional realism, characterization, and lasting value. For more information please send e-mail or call the artist at his North Carolina studio: (919) 367 8204. From the menu, click Portrait Gallery to view a sampling of Dave Turner's portraits of men, women, children, and self. Go to the Old Masters' Gallery, Room 2 to see copies of Old Master portraits painted by the artist. Portrait Demonstration presents step-by-step examples of actual works in progress using fine-art techniques adapted from the Old Masters. Get your questions answered on the FAQ page, then take a tour with the artist, visiting galleries and museums around the world, by clicking Turner's Travels. Thank you for visiting this site and for your interest in fine art portraiture. Please note: for faster page loading, all images at this site are digitized at medium resolution and compressed. To view uncompressed, high-resolution images, contact the artist by e-mail. ");

page[17]=new Array("monthly.htm","Portrait of the Month","","Each month on this page the artist presents a selected master portrait with comments on its style, composition, and execution. Portraits and comments from previous Portrait of the Month pages are shown in the Portrait Archive. (Click on the portrait for a larger view; click on Detail for a detail view.) Portrait of a Man (Self Portrait?) Jan van Eyck, 1433 Oil on oak panel, 10 1/4" x 7 1/2" The National Gallery, London As founder of the Netherlandish school of painting, Jan van Eyck produced remarkable images of precise, naturalistic detail and visual splendor. He is credited with refining the oil painting technique by applying many thin layers of translucent color glazes. Van Eyck's technical mastery enabled him to reproduce the visual world with convincing reality and brilliant, luminous color. Van Eyck's contribution to portraiture also was significant. He presented his subjects in a naturalistic manner with life-like detail. The face was shown in three-quarter view and turned towards the light, allowing the features to be carefully modeled with subtle shadows. Van Eyck employed the novel device of having his sitter look directly out of the picture. This portrait, possibly of van Eyck himself, is dramatic in effect. The subject appears to emerge from darkness, holding the viewer's attention with a penetrating gaze. The face and headdress display van Eyck's masterful skill in rendering the play of natural light over surface textures. [ Detail ] ");

page[18]=new Array("news.htm","What's New","","(Click on the portrait for a larger view; click on Detail for a detail view.) SCIENTISTS UNLOCK SECRET OF MONA LISA'S FACE July, 2010, CNN. Using X-ray techniques, researchers in France have examined the famous Leonardo da Vinci painting to see how the master achieved his barely perceptible graduation of flesh tones from light to dark. The subtle, hazy 'sfumato' quality of the portrait was achieved by glazing multiple layers, some as thin as one or two micrometers. Although da Vinci's glazing technique is well known, it is now possible to analyze the superimposition of individual layers. NEW DA VINCI PORTRAIT DISCOVERED October, 2009, The Guardian, UK. Art experts believe a new portrait by Leonardo da Vinci may have been discovered thanks to a 500-year-old fingerprint. If the scholars are correct, it will be the first major work by Leonardo to be identified for 100 years and will be worth tens of millions of pounds. Full story. FIRST-EVER OIL PAINTINGS FOUND IN AFGHANISTAN April, 2009, CNN. Until now, art historians believed that oil painting started in Europe in the 15th century. Scientists have found what they described as the earliest oil paintings ever discovered. Murals found on cave walls in Afghanistan prove that painting with oil had been going on in Asia for centuries before artists used the technique in Europe. Full story. ZOOM IN ON MASTERWORKS AT THE PRADO January, 2009, Associated Press. Spain's Prado Museum has teamed up with Google Earth for a project that allows people to zoom in on the gallery's main works, even on details not immediately discernible to the human eye. Images now available on the Internet are 1,400 times as clear as what would be rendered with a 10-megapixel camera. To view the astonishing detail of these images, type Prado Museum, Spain in the Google Earth Fly To field and click Go. Once the museum zooms into focus, click on the square with the name of the museum. For the full text of the AP release, click here. MOZART PORTRAIT DISCOVERED March, 2008, London, England. A previously unknown portrait of Mozart has been authenticated by an academic from King’s College London, Professor Cliff Eisen, a world expert on the eighteenth-century composer. It could be the single most significant Mozart artefact to come to light in the last 200 years. The 19" x 14" oil portrait was probably executed by Joseph Hickel (1736-1807), painter to the Imperial Court of Austria, about 1783. Visit the King's College London web site for more details. NEW GALLERIES AT THE MET January, 2008, New York City. New Galleries for 19th- and Early 20th-Century European Paintings and Sculpture are reopened with renovated rooms and 8,000 square feet of additional gallery space—the Henry J. Heinz II Galleries—to showcase works from 1800 through the early twentieth century. The renovated galleries feature all of the Museum's most loved nineteenth-century paintings, which have been on permanent display in the past, as well as works by Bonnard, Vuillard, Soutine, Matisse, Picasso, and other early modern artists. For more information, visit the Metropolitan Museum of Art web site.PICASSO PORTRAIT STOLEN FROM MUSEUM December, 2007, Sao Paulo, Brazil. In a brazen three-minute heist, thieves broke into the Sao Paulo Museum of Art and stole Picasso's "Portrait of Suzanne Bloch." Painted in 1904, the portrait comes from Picasso's blue period and is among the most valuable pieces in the museum's collection. Click here for the CNN report.WHY PRESIDENTIAL PORTRAITURE LOST ITS STATURE January, 2007, Washington, DC. This Wall Street Journal article analyzes the painted portraits of American presidents, comparing works by Gilbert Stuart (George Washington) and John Singer Sargent (Theodore Roosevelt) with works by artists who have painted portraits of presidents Truman, Kennedy, Nixon, Ford, Bush, and Clinton. To read the article, click here. MONA LISA EXAMINED IN 3D September, 2006, Ottawa, ON. The world's most famous portrait, Leonardo da Vinci's Mona Lisa, has been scientifically analyzed by the National Research Council of Canada with the aid of a color 3D laser scanner. Findings from this significant study shed light on the condition of the painting and on the artist's technique. For details of the 3D analysis, visit the NRC web site. NATIONAL PORTRAIT GALLERY REOPENS July, 2006, Washington, D.C. After an extensive renovation of the historic Patent Office Building, the Smithsonian’s National Portrait Gallery opened to the public on July 1. National Portrait Gallery, with its collection of nearly 20,000 paintings, sculptures, prints, drawings and photographs, portrays men and women who have made significant contributions to the history, development and culture of the people of the United States. For a detailed description of the building renovation, visit the NPG web site. FAMOUS ARTISTS' QUOTATIONS April, 2006, Apex, NC. In giving this web site a face lift, Dave has added a new feature. "Many pages of this site now contain quotations from famous artists of the past," says Dave. "You'll find the quotes in the right-hand column. Some of them are inspirational, some are humorous, and many provide a fascinating insight into the painter's mind—his technique, the way he approached his work, and how he viewed his art and his life as an artist. I hope that visitors to my web site will enjoy this new feature and find these quotations both interesting and stimulating." Quotations are generated randomly and change each time the page is revisited or refreshed. For an example, go to the Artist's Statement. SELF PORTRAIT IN 3 COLORS March, 2006, Apex, NC. Dave usually works with a fairly limited palette but now he gone a step further, crafting his latest work with his most highly restricted palette yet. Check the Portrait Gallery to see what can be accomplished by painting with only three colors. PORTRAIT: LADY ANGEW OF LOCHNAW February, 2005, Apex, NC. Dave has finished his portrait of Lady Agnew of Lochnaw, after the work by John Singer Sargent. See the Old Masters' Gallery for images and a description of how this popular subject was rendered. DAVE TURNER RELOCATES STUDIO September, 2004, Apex, NC. After relocating from Washington State to North Carolina, Dave has opened his studio in a beautiful, new, custom-built home. Says Dave, "I really like the architectural features of the Georgian Revival style, which is popular in the South. Designing your own home is fun, of course, but I especially appreciate having a more spacious studio with custom lighting, suitable storage, and a quiet, relaxing environment in which to paint. There can be various challenges in painting a portrait. The studio should not have to be one of them. I am excited to have a studio that is tailor-made for my work." PORTRAIT: YOUNG WOMAN SEEN FROM THE BACK October, 2002, Kirkland, WA. Dave has completed the lively work Young Woman Seen From the Back, after the 18th-century French artist Jean-Baptiste Greuze. See the Old Masters' Gallery for details. PORTRAIT: MADAME BARBE DE RIMSKY-KORSAKOV June 2002, Kirkland, WA. Dave has completed a portrait of Madame Barbe de Rimsky-Korsakov, after the 1864 painting by Franz Xaver Winterhalter that is on display at the Musée d'Orsay, Paris. This life-size portrait (oil on canvas, 48" x 36") of the lovely young woman showcases the artist's rendering of fabric and flesh. According to Dave, "This is one of my favorite works at the Musée d'Orsay. It's an arresting portrait. Winterhalter has portrayed his subject with beautiful, pearlescent flesh and a soft, sensous charm. Painting her garment was an interesting challenge for me since the style is vastly different from what we are used to seeing in the 20th or 21st century. But even though the garment takes up a third of the picture space, it's the subject's head that is the focus of attention. The sweeping curves of hair, ribbons, and arms all lead the viewer's eye to Madame Rimsky-Korsakov's lovely face." [ Detail ] [ Zoom ] PORTRAITS IN DEMAND SINCE 9/11 The Wall Street Journal, February 8, 2002 "The Hot New Subject: You" is the title of Friday's Art & Collecting column. According to Brooks Barnes, staff reporter of the Wall Street Journal, "Now, even famous artists will paint your portrait ... The portrait business is booming." One reason, Barnes observed, is that "Sept. 11 played a role, suddenly inspiring people to think about leaving their mark on canvas." DAVE TURNER SOLO EXHIBIT AT KPC November 2001, Kirkland, WA. Dave Turner returns to Kirkland Performance Center ArtStage. After helping launch KPC's ArtStage a year and a half ago with a group of local artists, Dave returns in November for a solo exhibit. On display are six portraits painted in oil on canvas. The subjects are varied in age and character, some portrayed as head-and-shoulders, others as half-length or full-length figures. This body of work showcases Dave's style and technique in painting modern subjects in the traditional manner of the Old Masters. The artist is donating a portion of new commissions to the Kirkland Performance Center. Says Dave: "It's exciting to return to KPC ArtStage. This season brings another outstanding program of music, dance, and theater to the Eastside. For me it's a pleasure, not only to attend and enjoy performances, but also to support KPC through my painting." ArtStage is open during box office hours and scheduled performances. PORTRAIT: LADY IN A RED DRESS March 2001, Kirkland, WA. Dave Turner has completed a copy of Florentine master Bronzino's Lady in a Red Dress (oil on canvas, 28" x 22"). The bright red of this elegant and attractive woman's dress is balanced by the dark green of the sleeves, chair, and background. Highlights in the rosary, the hardware on the chair, and the subject's gold chain and head piece provide accents for the painting and interest for the eye. The rosary and lap dog [ detail ] are symbols of piety and marital fidelity. The original work was formerly attributed to Bronzino's mentor Pontormo. It's a larger painting (35" x 27 1/2"), is dated c 1530, and is referred to also by the title A Lady with a Dog. According to Dave: "This is not a stroke-for-stroke copy. Instead, I have applied my own technique to Bronzino's superb composition of color and line. Learning from the great masters is a continual process. Although we do not have great masters such as Bronzino with us today, original works from past centuries provide us with inspiration and education. This work was a rewarding pleasure, from start to finish." [ Detail ] [ Zoom ] [ Demonstration ] KIRKLAND ARTISTS EXHIBIT AT PERFORMANCE CENTER June 2000, Kirkland, WA. In cooperation with other local artists, Dave Turner is helping support Kirkland Performance Center with their opening of a new visual arts gallery called ArtStage: The Gallery at KPC. In addition to providing non-portrait work for the exhibit, Dave is inviting portrait clients to offer part of their commission as a tax-deductible donation directly to KPC. Following is the text of KPC's press release, with hyperlinks added. ArtStage: The Gallery at KPC Opens in Kirkland In order to expand its already broad arts focus, Kirkland Performance Center has opened a new visual arts gallery in the lobby of its theatre at 350 Kirkland Avenue in downtown Kirkland. ArtStage: The Gallery at KPC opens with the work of four local Kirkland artists. A selection of their work in a variety of genres and media is on display during performances and regular box office hours and offered for sale, with proceeds benefiting the performance center. Lisa Smith, Sherrill Taylor, and Dave Turner are presenting works in oil, watercolor, Prismacolor, conte, pen and ink, and mixed media. Also shown are photographic works by Knykole Sheff. The artists are displaying landscape, still life, portraiture, life drawings, and other works that showcase a broad range of talent. Lisa Smith's work includes powerfully emotive oil paintings that challenge the viewer with their symbolism. Fine line and a delicate but sure touch are hallmarks of Sherrill Taylor's skillful drawings. Dave Turner's oil portraits, painted in the tradition of the Old Masters, are crafted to show character and interest. Knykole Sheff's monochromatic presentation of architectural and botanical subjects reveals a sensitive eye for form and balance. "ArtStage gives us an outlet to present the work of some fine Eastside artists while giving our lobby a whole new look," says KPC Executive Director Steve Lerian. "Although the space we have to display art is not immense, we will rotate the work in and out of the show to keep it fresh. We are very grateful to these artists for allowing us to show their work and for offering to share the proceeds of all sales with us. We hope to add several more artists to the mix as time goes on and to keep ArtStage as an ongoing part of KPC's programs." The organizer for the artist group, Dave Turner, says "Kirkland is rich in local artistic talent. We also have a center that brings a variety of outstanding performing arts programs to the Eastside. The Kirkland Performance Center has a positive impact on the cultural scene and on the quality of life in this community. We're delighted to have the opportunity to support KPC through a special display of our work." ArtStage is open Monday through Saturday from 12:00 noon to 6:00 PM or until intermission on performance nights. Artwork may be purchased through the KPC Box Office or from the KPC House Manager during performances. The current show will run through the end of July. For more information on ArtStage: The Gallery at KPC or any other programs at Kirkland Performance Center, call the KPC Box Office at 425-893-9900 or see KPC's web site at www.kpcenter.org. ");

page[19]=new Array("prices.htm","Price Guide","","Portrait commission rates are determined by a number of factors such as the size of the work and the amount of detail involved. Larger portraits and intricate detail require considerably more studio time and therefore are priced higher. You will receive an exact quote during the initial consultation, when the composition is decided. The table below provides a general guide for estimating the cost of your portrait. Base rates shown are for portraits with a plain background and simple garment. Format Base Rate AdditionalFigure ArchivalVarnish Head & shoulders$2,200$1,500$200 Half figure$3,500$2,400$300 Full figure$4,700$3,300$400 Sales tax, framing and shipping charges are not included. Terms are 50% to start, 50% upon delivery of the finished work. For special quotes or additional information, please contact the artist. International clients: see FAQ #16. Special notice to clients: I value your business. Please ask me about my Referral Rebate Program. — DT ");

page[20]=new Array("process.htm","The Portrait Process","","PLANNING YOUR PORTRAIT Portrait painting is a creative process that requires careful planning and consultation between the artist and the client commissioning the portrait. During initial consultation the size and basic composition of the work are discussed. Key elements, such as lighting, background, location, and expression, are carefully considered. The artist makes preliminary sketches and takes reference photographs. All this is done in a relaxed, informal atmosphere, either at your home or business, or at the artist's studio. (If you are not a resident of North Carolina, USA, please contact the artist for details on how to plan for your portrait.) PAINTING YOUR PORTRAIT Although painting from life has advantages, clients generally prefer not to spend many hours in several sessions sitting for a portrait. For this reason, the actual painting of the canvas is done in the artist's studio using the preliminary sketches and selected reference photographs. Head-and-shoulder portraits usually are completed within a couple of months; larger and more detailed works take longer. If necessary, minor adjustments can be made before the portrait is framed. PRESERVING YOUR PORTRAIT The finished work can be delivered framed and ready to hang. Or you can choose to have the portrait framed yourself. In order to preserve your fine-art portrait, the surface should be protected with a museum-quality archival varnish. To prevent cracking, archival varnish is applied only after the paint has thoroughly cured (usually about 9 to 12 months). By returning your portrait to the artist for varnishing, you will be protecting and preserving the work for posterity as a valuable heirloom. For answers to questions you may have on the portrait process, please check the FAQ page. Recommended reading: Commissioned Portraiture in the May 2006 issue of Fine Art Connoisseur, available at FineArtConnoisseur.com. Here's an excerpt from the article: "For most people, sitting for a painted portrait is a once-in-a-lifetime occurrence. You can guarantee a great experience and a satisfying finished portrait by taking the time to research the perfect artist for your needs, and by approaching the event as a collaboration with the artist. You'll be left with a beautiful work of art that will be enjoyed for generations to come." ");

page[21]=new Array("statement.htm","Artist's Statement","","Painting portraits in oil is for me the greatest challenge of artistic expression. As a native of London, England, I've had the opportunity to make frequent visits to the National Gallery (one of the world's great art treasures) and other fine collections in Europe. As much as I admire the many masterworks in various genres, portraits have the most profound effect on me. In particular, I am held by the characterization that is clearly evident in many works of the Old Masters. Artists of influence for me (for their characterization and painterly quality) include Hals, Rembrandt, Titian, and Velazquez. With the aid of a camera and other optical devices, rendering a likeness can be a relatively straightforward task for the portrait artist today. Rendering character, however, remains the real challenge. Using techniques adapted from the old masters, I find genuine satisfaction in exploring character and rendering the true person through oil on canvas. ");

page[22]=new Array("studio.htm","The Artist's Studio","","Visitors to the artist's studio discover that Dave uses only the finest materials, including hand-made brushes from England. In addition to the usual supplies for drawing and painting, Dave's studio also includes professional camera and lighting equipment for taking reference photos of his subjects. Clients have the option of being photographed here instead of at their home or business. Clients may also browse through frame catalogues and samples, and discuss with the artist his recommendations for an appropriate frame for the finished work. Frame samples are available in a variety of traditional and contemporary styles to suit the overall mood of a portrait in its final setting. Dave's studio also includes a reference library of great artists from early Renaissance to modern, and catalogues of paintings from many of the finest museums in Europe and north America. Visitors to the artist's studio often are surprised at how clean and orderly it is. There's a reason for it. Says Dave: "After hundreds of years, many Old-Master paintings still retain a brilliance and luminance of color. Of course, that's no accident. The artists were craftsmen thoroughly familiar with the materials at their disposal. Their techniques involved careful and precise application of specific pigments and binding mediums. They knew that sloppy habits in the practice of their craft would produce dull work and muddy color. Today we have the convenience of tube oil colors. But even so, it takes great care to paint 'clean' and produce a work with luminous color. Maintaining a clean palette is essential. I find that it's a state of mind that begins with the palette and extends throughout the studio." To arrange an informative studio visit, please contact the artist for an appointment. Location of the Artist's Studio: Apex, NC MapQuest ");

page[23]=new Array("travels.htm","Turner's Travels","","One of the most valuable ongoing activities for any artist is the study of master works by great artists of the past. There are many books, videos, CDs, and web sites devoted to master works of art, but there's simply no substitute for studying the actual works up close and in person. This means traveling to the cities, museums, and galleries where master works are displayed. Traveling for art can be time consuming and expensive but the rewards, both educational and inspirational, are considerable. Listed below are some of the places I've visited in recent years, with notes on some of the impressive works I've had the pleasure of studying.— DT (Links to web sites of museums referred to in Turner's Travels are found at the bottom of this page, listed alphabetically by major city.) August 2009, Detroit Detroit Institute of Arts The Detroit Institute of Arts houses a broad collection of fine art, dating from antiquity to modern, including works from Europe, the Americas, Asia, and Africa. Portraiture is particularly well represented by British and Dutch artists. The Portrait of Hendrik Swalmius (oil on panel, 1639) is an unusually small work by Frans Hals, just 11" x 8 1/4", but Hals' signature vigorous brushwork is clearly evident. Go to the DIA web site and click Zoom View to enjoy this lively work up close. May 2009, Cincinnati Taft Museum of Art Housed in a National Historic Landmark, the Taft Museum of Art is one of the finest small art museums in America. The Taft is home to nearly 700 works of art, including European and American master paintings, Chinese porcelains, and European decorative arts. Among the Taft paintings are portraits by Gainsborough, Hals, Ingres, Rembrandt, Reynolds, and Sargent's, Robert Louis Stevenson (oil on canvas, 1887). Cincinnati Art Museum One of the oldest arts institutions in the United States, the Cincinnati Art Museum has a rich collection of more than sixty thousand works of art, including master paintings from Europe and America. Portraiture is represented in works by Gainsborough, Hals, Titian, Van Dyck and many others. A fine example of Dominique Ingres' classical style is his portrait of Italian composer Luigi Cherubini (oil on canvas, 1841). March 2009, Berlin, Germany Gemäldegalerie Berlin's Gemäldegalerie houses one of the finest collections of old-master paintings in Europe. About 1500 works are on display, representing the major European regions and schools from the 13th to the 18th century. The museum owns 16 works by Rembrandt, including a magnificent portrait of Hendrickje Stoffels as a Young Woman at an Open Door (oil on canvas, 1656/57). November 2008, Sydney, Australia Art Gallery of New South Wales Although not as comprehensive as the National Gallery of Victoria, Australia, the Sydney gallery contains a selection of British portraits by Gainsborough, Hogarth, Lawrence, Raeburn, and Reynolds, as well as a fine self portrait by Rubens (one of two he painted in 1623), currently on loan from the National Gallery of Australia, Canberra. September 2008, Durham, NC Nasher Museum of Art at Duke University A special exhibition El Greco to Velazquez presents Spanish painting during the 23-year reign (1598-1621) of Philip III. In addtion to late works by El Greco and early works by Velazquez, the exhibit presents religious paintings, portraits, and still life works by lesser-known yet highly talented Spanish artists. One non-Spanish painting in the exhibition is Rubens' magnificent life-size equestrian portrait of the Duke of Lerma (oil on canvas, c 1603), on loan from The Prado. Lerma was patron to the arts during Philip III's reign. July 2008, Houston Museum of Fine Arts MFAH holdings include a broad collection of master paintings dating from the 14th to the 20th century. On display through July 31 is a landmark portrait of George Washington (oil on canvas, 1797) by Gilbert Stuart. American portraiture in the permanent collection is represented by works of Thomas Eakins and John Singer Sergeant. European portraiture is represented by many artists including Hals, Rembrandt, Reynolds, Romney, and Van Dyck. A superb example of Venetian splendor and beauty is Portrait of a Lady as St. Agnes (oil on canvas, 1580s) by Veronese. May 2008, St. Petersburg, Russia The Hermitage This magnificent palace holds one of the greatest collections of western European art on earth. To see literally dozens of works by Rubens and Rembrandt in such a setting is a truly unforgettable experience. In addition to an extensive collection of French works, there are Spanish, German, British, Flemish, Dutch, Netherlandish, Russian, and Italian paintings, including two madonnas by Leonardo da Vinci. There are notable portraits by Gainsborough, Goya, Hals, Titian, van Dyck, Velazquez, and many others, including the portrait of Empress Maria Alexandronva (oil on canvas, 1857) by Franz Xaver Winterhalter, and the lovely operatic soprano Henrietta Sontag (oil on canvas, 1831) by Paul Delaroche. The impressive Gallery of 1812 commemorates the defeat of Napoleon with over 300 portraits of Russian generals painted by British portraitist George Dawe, with assistance from two Russian artists. May 2007, San Francisco Asian Art Museum The Asian Art Museum is one of the largest museums in the western world devoted exclusively to Asian art. There are thousands of works of art on display, representing several millenia of Asian art and culture. Although most of the artworks are three dimensional, there are also excellent examples of Chinese, Japanese, and Korean painting, and a finely drawn Study of the Head of a Woman (ink and watercolor on paper, c 1750) from Rajastahn, India. January 2007, Raleigh North Carolina Museum of Art For a regional museum, the breadth and quality of the permanent collection here is a pleasant surprise. In addition to American works from the 18th to the 20th century, European masters from the 13th to the 20th century are well represented, with works by Raphael, Titian, Veronese, Tintoretto, Rubens, and many others. A room dedicated to British portraiture contains fine examples by Beechey, Gainsborough, Raeburn, and others, as well as a beautiful Van Dyck portrait of the young Lady Mary Villiers (oil on canvas, c 1636) portrayed as Venus, with her cousin Lord Arran as Cupid. September 2006, Chicago The Art Institue of Chicago Considered one of the finest collections in the world, this museum contains more than 2,000 European works from the 13th to the 20th century, including an outstanding selection of Impressionist paintings. American art from the 17th to the 20th century also is well represented. The superb neo-classical portrait of Amédéé-David, Comte de Pastoret (oil on canvas, 1826) by Dominique Ingres is a fine example of the high quality of work on display in the many galleries. October 2005, Tokyo Bridgestone Museum of Art Shojiro Ishibashi, founder of the Bridgestone Corporation, opened this museum in 1952 in order to display his private collection. The museum exhibits European Impressionist paintings and 20th-century art, as well as western-style Japanese modern art. Included in the collection are self portraits by Manet and Cézanne, and a charming portrait of Mademoiselle Georgette Charpentier Seated (oil on canvas, 1876) by Renoir. Tokyo Metropolitan Art Museum On display from October 22 through December 18 is a special exhibition of European paintings entitled Masterworks of French Impressionism and Modernism from The State Pushkin Museum of Fine Arts, Moscow. Among the many excellent works is the painting of Queen Isabeau (oil on canvas, 1909) by Pablo Picasso. This semi-abstract rendering of the 15th-century French monarch was painted during Picasso's Cubist period. January 2005, Tokyo The National Museum of Western Art This museum houses an impressive collection of paintings representative of western art from the 15th through 20th centuries. The collection includes works by Italian, Flemish, Dutch, French, British, and Spanish masters. The Self Portrait (oil on canvas, 1783) by talented 18th-century French artist Marie-Gabrielle Capet is typical of the excellent quality of art on permanent display at this museum. Also on display is a world-class collection of Rodin sculpture. January 2005, Seoul Hangaram Art Museum A special exhibit entitled 400 Years of Western Art—From Poussin to Matisse opened this month at the Seoul Arts Center. The exhibit contains predominantly French works, including fine portrait and figure paintings by David, Ingres, and Delacroix. Charles Landelle was a 19th-century painter of the French school who enjoyed a successful career as an orientalist. His journeys to Morrocco and Algiers resulted in paintings such as this Juive de Tanger (oil on canvas, 1874). November 2004, San Francisco California Palace of the Legion of Honor Returning to this museum is always a pleasure. Among the many European master works on display are excellent portraits by Tintoretto, Rembrandt, Van Dyck, and Hals, and by many other Dutch, French, and British masters. The full-length portrait of Anne, Viscountess of Townshend (oil on canvas, 1779-1780) by Sir Joshua Reynolds is painted in the 18th-century British grand manner. The style is elegant, formal, and classical. Before her marriage to Viscount Townshend, the beautiful Anne Montgomery, together with her two Irish sisters, had been immortalized by Reynolds in the Three Ladies Adorning a Term of Hymen (The Tate Gallery, London.) May 2004, Beijing Summer Palace In Beijing can be found some of the most interesting architecture on earth. The Summer Palace is the world's largest imperial garden, containing magnificent buildings in the style of classical Chinese garden architecture. Dutch-American artist Hubert Vos painted this 92" x 54" portrait of the Empress Dowager Cixi in 1905. According to Cixi's request, she was portrayed as much younger than her 70 years, with 'no shadows and no wrinkles,' and Vos presents her in a symbolical and allegorical composition, as a tribute to the Chinese imperial culture. May 2003, London Dulwich Picture Gallery Designed by Sir John Soane in 1811 and completely refurbished in 2000, the Dulwich Picture Gallery is one of Europe's finest small galleries. It houses an impressive collection of Old Masters, including portraits by van Dyck, Lawrence, and Gainsborough. One of the jewels in the collection is Girl at a Window, (oil on canvas, 1645) by Rembrandt. This work, which is a figure study rather than a commissioned portrait, displays Rembrandt's masterful techniques: the subject's head is bathed in a warm, glowing light while the texture of the linen garment is superbly rendered with thick impasto. November 2002, San Francisco California Fine Arts Museums The California Palace of the Legion of Honor and the M. H. de Young Memorial Museum are the two institutions that comprise the Fine Arts Museums of San Francisco. European master works of the fifteenth through the twentieth century are exhibited at the Palace of the Legion of Honor, including paintings from Italy, France, Holland, Flanders, Britain, and northern Europe. The Legion of Honor houses master portraits by Gainsborough, Raeburn, Reynolds, and others. The Portrait of a Gentleman in White (oil on canvas, c 1637) is an excellent example of Frans Hals' originality and technical skill. The garment is rendered with bravura brushwork, while the head is carefully modeled, revealing the subject's self-assured character. May 2002, Washington, DC National Gallery of Art Goya: Images of Women is the first major exhibit dedicated to the artist's portrayal of women. The collection of paintings, drawings, and prints (mostly from the Prado, Madrid) shows Francisco de Goya's view of women and Spanish society of the late 18th and early 19th centuries. In this fine portrait of Señora Sabasa Garcia (oil on canvas, c 1806/1811) from the NGA Andrew W. Mellon Collection, Goya renders the shawl and the young woman's Spanish beauty with brush strokes of great freshness and immediacy. December 2001, Portland, OR Portland Art Museum The National Gallery of Victoria, Australia, houses the oldest and most important collection of Old Masters in the southern hemisphere. A collection of paintings from the NGV ("European Masterpieces—Six Centuries of Paintings") begins its American tour in the Pacific northwest. The exhibit includes fine portraits by Van Dyck, Gainsborough, and Romney, and a superb painting by Rembrandt: Portrait of a White-Haired Man (oil on canvas, 1667). This portrait is typical of Rembrandt's late style, completed two years before his death. The bold brushwork and carefully modeled face and hand imbue the subject with a strong, palpable presence. September 2001, Paris Musée d'Orsay This famous portrait of The Artist's Mother (oil on canvas, 1871) is an excellent example of James McNeil Whistler's originality and style. Whistler was influenced by Japanese art and produced compositions of enchanting mystery and atmosphere. His main concern was a harmonious arrangement of pattern and color, as indicated by the full title of this work: "Arrangement in Black and Grey No. 1: The Artist's Mother." The Louvre Jean-Honoré Fragonard (1732 - 1806) was the last great painter of the French Rococo style and is best known for his paintings on light-hearted sensual themes. In addition to these intimate works of Fragonard, the Louvre also shows some of his remarkable portraits, such as the Portrait of Abbe de Saint-Non (oil on canvas) and another portrait of the same patron dressed as an actor in the Fantastic Figure (oil on canvas). The rapid, sketchy style and broad handling of color in these works demonstrate Fragonard's technical brilliance as a painter. June 2001, LisbonMuseu Nacional de Arte Antiga Portugal is a pleasure to visit. It's a country of fascinating contrasts and a rich cultural heritage. Lisbon's National Museum of Ancient Art has an extensive collection of European paintings from the 15th through the 19th century including numerous portraits and impressive works by Courbet, Van Dyck, Velazquez and many others. January 2001, Seattle Seattle Art Museum The first major West Coast showing of works by John Singer Sargent includes drawings, watercolors, and many outstanding oil paintings. Shown together for the first time in over 70 years are twelve large portraits of the family of prominent London art dealer Asher Wertheimer. The splendid double portrait of Ena and Betty, Daughters of Asher and Mrs. Wertheimer (oil on canvas, 1901) demonstrates Sargent's evocative, bravura style in portraying these women as strong, vivacious, and (for the time) audaciously dressed. September 2000, Los Angeles The Norton Simon Museum Frans Hals introduced to portraiture a unique vitality and natural informality. This portrait, presumed to be of the painter Jan van de Capelle (oil on canvas, 1650-1655), is a fine example of Hals' distinctive painterly style. His bold brushwork gives the portrait a vibrant spontaneity and lively characterization. The Getty Museum Pontormo was an early Florentine master of the Mannerist style. This Portrait of a Halberdier (oil on canvas, 1528-30), formerly in the Frick Collection, is a beautiful example of Pontormo's chiaroscuro and elongated distortion. May 2000, Paris The Louvre Baldasarre Castiglione literally wrote the book on the Italian Renaissance. As an influential man of noble birth, he wrote The Book of the Courtier, which helped shape and define the Italian Renaissance. In this beautiful portrait (oil on canvas, c 1515), Raphael renders his subject as the ideal courtier: intelligent, relaxed, and elegantly dressed. Except for the face, the work is almost monochromatic; Raphael thus draws our attention to the courtier's amiable gaze and compassionate eyes. Musée d'Orsay As one of the world's most beautiful museums, the Orsay contains a remarkable collection of sculpture and Impressionist works. Franz Xaver Winterhalter was a 19th-century German portraitist who painted in the royal courts of Europe. This painting of the lovely Madame Barbe de Rimsky-Korsakov (oil on canvas, 1864) is a fine example of Winterhalter's talent. The portrait is composed in the traditional pyramid format, and the subject (the famous composer's aunt) is revealed as sensitive, graceful, and charming. October 1999, New York The Frick Collection This superb collection includes magnificent portraits by Titian, El Greco, Van Dyck, Hals, Rembrandt, Velazquez, and Ingres. British portraiture is well represented with works by Hogarth, Gainsborough, Reynolds, Romney, and Raeburn. One master work that really stands out for me is Sir Thomas Moore (oil on panel, 1527) by Hans Holbein. Holbein's composition gives his subject a simple grandeur that's appropriate for Moore's strength of character and status as Lord Chancellor. This brilliantly rendered, powerful head was severed by Henry VIII in 1535. The Metropolitan Museum of Art The portrait of Princess de Broglie (oil on canvas, 1853) by Dominique Ingres is stunning and deeply impressive. As his last great aristocratic portrait, this work is a supreme example of Ingres' masterful technique. The graceful lines, delicate hands, statuesque beauty, and gorgeous satin gown are all painted with assurance and consummate skill. September 1999, Vancouver, BC Vancouver Art Gallery Four Centuries of Portraits was a special exhibit of portrait art from Renaissance to modern. Included was a fine painting by Williame-Adolphe Bouguereau, a lesser-known French portrait artist of the late 19th century. While Impressionism was gaining popularity, Bouguereau found success painting portraits in the traditional manner. His Self-portrait (oil on canvas, 1879) is an excellent example of his skill in rendering likeness and flesh. May 1999, Madrid The Prado Diego Velazquez' Las Meninas (oil on canvas, 1656) is one of the most outstanding paintings of all time and the subject of numerous books, articles, and interpretations. Velazquez is a 'painter's painter'. His brush work shows extraordinary facility, expressing form and texture with great economy. This huge work (125" x 109") is a group portrait of the royal court, and includes a self portrait of the master. Velazquez' signature allusive style is particularly evident in the garments and in the exquisite portrait of the young princess, the infanta Margarita. If you're heading to Europe, this work alone is worth a detour through Spain. April 1999, London The National Gallery There are so many powerful works in this museum, but somehow I'm always drawn to the simple Portrait of a Young Man (oil on panel, c 1485) by Sandro Boticelli. This work is a beautiful example of the Florentine master's graceful linearity. Though simple in concept, this portrait is arresting. The young man's features are rendered with a startling freshness and directness. The National Portrait Gallery Many paintings in this gallery are included not for their artistic merit but for historical interest. We're naturally curious about famous figures from the past. However, the gallery does include some gems by Rubens, Van Dyck, and Sargent. I found the self portraits by Reynolds, Gainsborough, and George Romney (oil on canvas, 1784) to be of particular interest. The Courtauld Collection This small but excellent collection includes some fine Impressionist paintings and some notable works by Rubens. I especially enjoy Gainsborough's Portrait of Mrs Gainsborough (oil on canvas, 1779). It's a beautifully intimate work. The artist's wife is painted with sensitivity and tenderness, surrounded in black lace that swirls with Gainsborough's energetic, fluid brush strokes. March 1999, Washington, DC National Gallery of Art Rembrandt painted dozens of self-portraits. This late work, Self portrait (oil on canvas, 1659), painted after his bankruptcy, is penetrating and profound. Rembrandt portrays himself as aged, weak, and ruined. And yet the execution of the painting is masterful and sure, and is typical of Rembrandt's mature, late style. In spite of the apparent rough application of paint, the portrait has a soft, atmospheric quality that is quiet, but haunting. The National Portrait Gallery Like its counterpart in London, this portrait gallery is more noted for its subjects than for its artists. The gallery of presidents provides an interesting look at how portraiture and artistic style in the United States have changed over the last two hundred years. This gallery will be closed for renovation by the Smithsonian Institute between 2000 and 2003. November 1998, Amsterdam The Rijksmuseum Lots of fine Dutch landscapes, still lifes, and interiors here, including some outstanding works by Vermeer. But Rembrandt steals the show with his master work The Night Watch (oil on canvas, 1642). This large group portrait of a civic guard broke new ground with its dramatic use of light and action. Rembrandt creates a pictorial drama of unprecedented vigor. The Frans Hals Museum, Haarlem Located in the beautiful historic town of Haarlem, this museum displays works by a variety of Dutch artists, as well as a number of group and individual portraits by Hals. It's of interest to see how, in his later works, Hals' brush work became even looser than before. Definitely worth a day trip from Amsterdam. November 1998, London The National Gallery Goya painted the splendid portrait of Dona Isabel de Porcel (oil on canvas, c 1805) in return for the hospitality he had received when he stayed with her and her husband in Granada. With a simple composition and subdued palette, Goya highlights the subject's bright eyes and contrasts her fair skin with the pink satin gown and black lace mantilla. The Wallace Collection Francois Boucher's portrait of Madame de Pompadour (oil on canvas, 1759) is typical of the French Rococo style that the marquise de Pompadour sustained by her patronage of the arts. Many of Boucher's works are voluptuous and sensual, but here he presents Madame de Pompadour as a mature woman of culture enjoying the gardens of her home. Tate Gallery The John Singer Sargent exhibit was a popular success in London and, later, in Washington and Boston. The portrait of Lady Sassoon (oil on canvas, 1907) is one of Sargent's grandest late creations. Lady Sassoon, a famous society hostess, is shown as refined and intelligent, enswirled in black and pink garments that accentuate her soft skin and elegant hands. Museum Web Sites Google Earth Coordinates * Amsterdam     Rijksmuseum 52.35999648177594,4.88533625396704     Frans Hals Museum, Haarlem 52.37657393935609,4.633293660135252 Beijing     Summer Palace 39.99770211114156,116.2684067972639 Chicago     The Art Institute of Chicago 41.87950293853535,-87.62362410503766 Lisbon     Museu Nacional de Arte Antiga 38.70489947253989,-9.161191179185082 London     Courtauld Institute of Art 51.51105769495923,-0.117137074773865     Dulwich Picture Gallery 51.44596048867054,-0.08636831427294567     The National Gallery 51.50866317084357,-0.1283746405351565     National Portrait Gallery 51.50945791470046,-0.1282046454699355     The Tate Gallery 51.49085904307844,-0.1271583285870151     The Wallace Collection 51.51731233271672,-0.1528991012289254 Los Angeles     J. Paul Getty Museum 34.0768294777832,-118.4738719541443     Norton Simon Museum 34.14641022652843,-118.1592439817203 New York     The Frick Collection 40.7711919314814,-73.96768212745808     The Metropolitan Museum of Art 40.77915697700696,-73.962895529478 Madrid     The Prado 40.41383116784107,-3.692045694466217 Paris     The Louvre 48.86041444857619,2.338400830262401     Musée d'Orsay 48.85988598517638,2.326632431574211 Portland     Portland Art Museum 45.51651533816673,-122.6833758560838 Raleigh     North Carolina Museum of Art 35.80997114523208,-78.70269818610105 San Fransisco     Palace of the Legion of Honor 37.78466855871865,-122.5005883895353 Seattle     Seattle Art Museum 47.60725520835971,-122.3380142684035 Seoul     Hangaram Art Museum 37.47841344221646,127.0117357501637 Tokyo     The National Museum of Western Art 35.71532569539372,139.7757805348371     Tokyo Metropolitan Art Museum 35.71708266634389,139.7730977763106     Bridgestone Museum of Art 35.67874427649963,139.7717418670454 Vancouver     Vancouver Art Gallery 49.28298834134988,-123.1205193351204 Washington, DC     National Gallery of Art 38.89135130677984,-77.01796277617248     National Portrait Gallery 38.89779736537295,-77.02288329846941 * Copy and paste these coordinates into the Google Earth Fly To field. ");

page[24]=new Array("wip.htm","Work in Progress","","This page presents a more detailed demonstration of Dave Turner's painting technique. The work, completed in 2008, is a commissioned copy of Morning Bouquet by French artist Alfred Guillou (1844-1926), a pupil of William Bouguereau. Although direct painting in the Impressionist style was in vogue when the original work was produced, Guillou would have learned classic painting techniques in the atelier of Bouguereau, who worked in the academic tradition. This copy of Morning Bouquet follows the classic technique of layering color glazes on top of a monochrome underpainting. 1. Drawing After applying coats of acrylic gesso and white oil paint to a 20" x 16" linen canvas, a drawing of the original painting was transferred to the canvas and outlined with a thin mixture of burnt umber and titanium white, using a fine sable brush. 2. Initial rough-in Burnt umber and titanium white also were used for this initial rough-in, establishing approximate values for the grayscale underpainting to follow. 3. Underpainting the flesh Working from dark to light, an underpainting is begun using values of gray. Flesh tones are applied with round sable brushes and blended to match a monochrome print of the original work. 4. Underpainting the background After flesh values are established, background values are laid in with bristle filberts. This part of the underpainting is applied thinly, allowing the warm tones of the initial rough-in to vibrate with the cool grays. 5. Completing the underpainting Gray values for the bouquet and garment are applied with bristle filberts. Round sable brushes are used to portray the softness of the subject's hair. With some corrections to the figure, the underpainting is complete. After drying, the application of color can begin. 6. Applying color Although it may not be possible today to specify Guillou's palette, we do have a list of colors used by Bouguereau and these colors are used for this painting. Some colors from Bouguereau's palette are replaced with modern equivalents which are more stable and less fugitive than those of a century ago. Alizarin crimson (for Rose madder) Burnt sienna Cadmium red (for Chinese red) Cadmium yellow deep (for chrome yellow dark) Cobalt blue Ivory black Mars brown Naples yellow Permalba white (for white lead) Van Dyck Brown Viridian Yellow ochre The initial color session includes a first pass at the background and the first glaze of the subject's hair. Next, basic colors for the bouquet are established. Details and highlights will be added later. 7. Glazing the Flesh There now begins a series of many flesh glazes which gradually bring the subject to life. Four of the two dozen glazing stages are shown below. 8. Finishing touches Final highlights are added to the figure, bouquet, and background. These accents complete the painting. [ Zoom ]");

page[25]=new Array("archive4.htm","Portrait Archive, Room 4","","This archive contains portraits and comments from earlier Old-Master Portrait of the Month pages. (Click on the portrait for a larger view; click on Detail for a detail view.) The Smoker Paul Cezanne, c 1890-1892 Oil on canvas, 36 1/2" x 29" The Hermitage Museum, St. Petersburg Paul Cezanne was an eccentric painter who struggled for years and finally emerged as one of the greatest artists of the 19th century. Cezanne developed a new pictorial language which established him as one of the fathers of modern art. He described his paintings as 'constructions after nature', in which essential elements from the three-dimensional world were reassembled on a flat canvas. Instead of modelling his subjects with light and shade, Cezanne modulated form with color, using a so-called 'flat-depth' method. Cezanne does not attempt to portray his sitter's character. Rather, with his distinctive two-dimensional style, Cezanne imbues his subject with solidity and a sculptured monumentality. A Procurator of Saint Mark's Jacopo Tintoretto, 1575/1585 Oil on canvas, 54 5/8&qout; x 39 7/8&qout; National Gallery of Art, Washington Jacopo Tintoretto was Venice's greatest painter after Titian. He drew upon the Venetian colorist tradition and the draughtsmanship of Michelangelo to create an innovative, vigorously expressive personal style. Tintoretto's signature rapid brushwork gives his paintings an energetic freshness and immediacy. This painting is a superb example of the fahionable portraits of the time and also of Tintoretto's later painting style. The subject's serious expression, authoritative posture, and ermine-lined crimson velvet robe confirm his high status as a civic official. Tintoretto depicts the luxurious garment with thinly painted red glazes and broad strokes of white. [ Detail ] Portrait of the Comte de Turenne. Jacques-Louis David, 1816 Oil on panel, 44" x 32" Ny Carlsberg Glyptotek, Copenhagen After abandoning his early Rococo style, Jacques-Louis David founded the Neo-Classical movement in France. Inspired by heroes of Greek and Roman antiquity, he organized his paintings like marble bas reliefs with smooth, sculptured figures. David loved the theater and constructed many of his paintings as if they were dramatic stage scenes. David was committed to the ideals of the French Revolution and became its artistic leader. In 1804, Napoleon made David his Premiere Peintre, but the artist ended his days in exile after the emporer's fall from power. Throughout his turbulent career, David was a prolific portraitist, producing intimate works of remarkable immediacy. This late portrait of an exiled compatriot shows great technical mastery and human insight. [ Detail ]  Jo, La Belle Irlandaise (The Beautiful Irish Girl) Gustave Courbet, 1865–1866 Oil on canvas, 22" x 26" The Metropolitan Museum of Art, New York Gustave Courbet's paintings are among the most powerful and controversial images of the 19th century. The son of a wealthy farmer from eastern France, Courbet moved to Paris at age 20 and eventually gained recognition, being hailed as the leader of the new 'Realist' school. In 1850, Courbet shocked Parisian society with pictures of unidealized and uncompromising peasants, portrayed on a heroic scale. By 1865 Courbet came in demand as a portrait painter of fashionable ladies. During a visit to Trouville on the Normandy coast, he painted this portait of a beautiful Irish redhead, Joanna Hifferman, the mistress and model of James McNeill Whistler. This is one of several similar versions of the portrait. Gertrude Stein Pablo Picasso, 1906 Oil on canvas, 39 3/8" x 32" The Metropolitan Museum of Art, New YorkSpanish artist Pablo Picasso is considered one of the most important and influential figures in twentieth-century art. Throughout his career, Picasso painted in a variety of styles, from classical to abstract. This portrait was produced in Paris between Picasso's Harlequin and Cubist periods. The subject, expatriate avant-garde American writer Gertude Stein, was an early supporter and patron of Picasso's work. The portrait was painted from life in a broad, monumental style appropriate for the subject. After a visit to Spain, Picasso reworked the head without the sitter, creating an arresting, mask-like face. [ Detail ] ");

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