The Art of the Portrait 2024
By Marianne Rice
Entering the ballroom of the Grand Hyatt Atlanta for the Portrait Society of America’s 26th annual Art of the Portrait conference was extraordinary. The great tide of over seven hundred portrait and figurative artists from around the world, gathered in pursuit of creative excellence, is what Robert Henri referred to as “the great Brotherhood.”
Among the crowd were the recipients of more than 35 scholarships awarded annually by the Portrait Society, including this year’s full Veteran scholarship in partnership with the Patriot Art Foundation. The kickoff event, known as “The Face-Off,” included fifteen internationally recognized artists working simultaneously in various mediums from live models. The three-hour event culminated in a dashing finish of stunning portraits and a palpable energy, as attendees circled the ballroom in fascination.
Earlier that day, three hands-on, pre-conference workshops were also available. After stimulating presentations, students worked from master copies, live models and individual armatures under the expert tutelage of artists Louis Carr, Anna Rose Bain, and Kevin Chambers.
Over the weekend, breakout sessions were led by a faculty of some of the most influential voices in contemporary portraiture and figurative art. Artists like Thomas Caleb Goggans, Oliver Sin, Frances Bell, Liz Harris, Ali Cavanaugh, Jason Bouldin, Grace DeVito, and Tim Rees worked individually with students to help sharpen their drawing skills.
Susan Lyon and Jeff Hein made a dynamic duo as they explored the visual and emotional impact of expressive color. Both demonstrated their unique approach to chromatic color harmonies while painting from life on the main stage.
Casey Childs and Anna Rose Bain kept the audience laughing with playful banter as they painted fellow artist, Jeff Hein. The subject was “How to Paint a Portrait and Not Lose a Friend” – no word yet on whether Jeff is still talking to Casey or Anna.
Britain’s leading portrait painter, Jamie Coreth, who recently painted the Prince and Princess of Wales, joined virtually with Chairman Michael Shane Neal and Paul Newton, to provide helpful insights on the technique and artistry of painting the prominent.
Mary Whyte walked through her watercolor process, painting from a live model on the main stage, while Michael Shane Neal gave a lively presentation on the historical connection between watercolor and oil. Shown were stunning examples of watercolor paintings by artists Winslow Homer, Anders Zorn, and John Singer Sargent.
John Coleman captivated the audience with his progressive transformation of clay and simple armature into a young Navajo girl, then a Hopi maiden, and finally a Sioux Tribal Leader in feathered war bonnet. These sculpture studies revealed strong parallels to painting and drawing.
John warmed his clay to capture the lyrical quality of softer, more spontaneous mark making. The transformation from a child’s head, to a young woman, and an older man showed technical knowledge of head structure. John’s compositional placement of design elements moved the eye throughout the sculpture, relating a universal language in portraiture.
Friday evening, the doors of the Grand Ballroom opened to panels of small paintings displayed by number. The 6x9 Mystery Art Sale brought out a competitive spirit even among the most docile, as the crowd moved shoulder to shoulder eying pieces they hoped to bid on. All panels worked simultaneously at opening bell as numbers were called out, name badges were tossed into baskets, and a winner drawn. The fortunate went home with a piece of art by a recognizable artist, at a rock-bottom price. Proceeds from the sale help fund scholarships for future recipients to attend the conference.
Portfolio critiques and book sales and signings were available with faculty artists during the lunch break. In the evenings, artists gathered in rooms set up with live models for sketching, connecting and instruction.
The exhibition hall was filled with the best in the art supply business. Art materials were on full display throughout the weekend as artists like Timothy Rees, Kerry Dunn, Ali Cavanaugh, and Tina Garrett painted from models alongside exhibition booths.
The Gala Banquet was the crescendo of the weekend. The International Portrait Competition presented over $158,000 in cash and awards, including the winner of the Draper Grand Prize. This year’s recipient was artist Jeffrey T. Larson for his magnificent portrait, King Hall. The entire ballroom celebrated as honorees crossed the stage.
Reflecting on the great history of the Portrait Society and the artists who have contributed their time and wisdom to the education and discipline of fine art portraiture, founding member and first chairwoman of the Cecilia Beaux Forum, Judith Carducci, is remembered. Last year Judith’s recital of a Rudyard Kipling poem moved the audience to a standing ovation.
This year Dawn Whitelaw was presented with an award for a lifetime of excellence in fine art education. Sculpture artist Ed Fraughton accepted the Gold Medal Award virtually with his wife Ann at his side. The reverence and admiration of senior faculty was only further illuminated by the Next Generation demonstrations.
Four young, up-and-coming artists, Mattie Ree Neal, Samuel Walter, Kate Orr and Kai Lun Qu shared their approach to the portrait. Their vitality and fresh energy were a harbinger of things to come; art yet in the ethereal. Their outstanding performances left no doubt that the future of fine art portraiture is in good hands.
Robert Henri understood what is gleaned from collective experiences like this when he wrote, “The student is not an isolated force. He belongs to a great Brotherhood, bears great kinship to his kind. He takes and he gives. He benefits by taking and he benefits by giving… The Brotherhood is powerful. It has many members. They are of all places and of all times. The members do not die. One is a member to the degree that he can be a member, no more, no less. And that part of his that is of the Brotherhood does not die.”
An old proverb declares, “A society grows great when old men plant trees in whose shade they shall never sit.” This same principle guides the Portrait Society of America. The multigenerational relay of information, technique and inspiration is the great visionary mission of the organization.
Sunday afternoon, artists collected their things to return to their studios with renewed spirit, certain they will do it all again next year. Through the generosity of faculty, volunteers and staff, the great Brotherhood will be called back again in the quest to capture the human spirit through The Art of the Portrait.
Photos by Robin Damore and Peggy Kinstler
