Portraiture has fascinated and frustrated Artists, commissioners and viewers since early times. The portrait represents the possibility of immortality. It lets us keep loved ones nearer when gone, and it immortalizes the character and deeds of the rich and famous. The following considerations were complied to address the frustrations inherent in the portrait making process.
Let us first keep in mind that the Artist is translating a flat image to a compressed three dimensional image - photo to sculpture. Many compromises are made in the process of reducing what should be 4 - 6 inch depth ( nose to back of ear) to 1/4 - 5/8 inch. Every feature must be measured, compressed and translated - constantly re evaluating every calculation. Moment to moment.
With the compiled information given the Artist, the first image (taking approximately 40 hours) will sport the spontaneous tool marks and the character of the original material used. The original is usually modeled in clay. The clay being added, subtracted and manipulated innumerable times. Light is shone on the portrait from all directions to examine every next step. One at a time.
The time comes when the Artist feels that good likeness has been produced. Further refinement would require feedback from the Commissioner as well as to cast the piece in plaster to go further with facial definition and character development. For a refined portrait, additional time will be required to re-define, measure, detail and correct the portrait.
As the Commissioner evaluates the original model many factors influence the initial response. One, they knew the person in the portrait. Usually quite well and their perception of that person is highly colored by that intimate knowledge and experience. Two, long-time experience of a person brings a layering of the memories of the person. Young and older. Making a composite that the artist can never perceive. A good variety of photos helps the Artist see what you see, but will not necessarily provide adequate information for the Artist to translate. A third factor influencing the Commissioner is the material from which the portrait is made. It has little relationship to flesh unless highly refined. The suggestion that the portrait be viewed by squinting ones eyes as one would a painting. The material becomes less important and the subject more gently dealt with.
Seldom is the problem what the viewer perceives. More likely the observations recorded by the Commissioner help the Artist locate the problems. No single dimension can be changed without all other features being affected. Therefore, no simple change is really a simple change.
It is simply an historic fact that portraiture is not an exacting science, but a frustrating Art that has fascinated the world. No matter how much time is put into the portrait, one will still only have a "likeness" of that person. Years down the line, totally acceptable or not by loved ones, people will still appreciate the sculpture. Knowing the subject must have been special for anyone to have cared enough to have had the image cast in bronze.
Valerie Egland
