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West Australian
27-06-2025
- Entertainment
- West Australian
Unlikely link between legendary artist and small English village explored in art exhibition
Just days after coming face-to-face with one of John Singer Sargent's most breathtaking paintings, Lady Agnew Of Lochnaw, I find myself in the heart of the English Cotswolds getting a left-of-field glimpse into the renowned American artist. I'm at the Broadway Museum and Art Gallery, where an intimate exhibition marking the centenary of Sargent's death explores how this quaint Worcestershire village played a surprisingly crucial role in his artistic development. After the explosion of controversy of his portrait Madame X at the Paris Salon of 1884 (which practically tipped Paris high society on its head), Sargent came to England to seek refuge from the chaos. At the time, Broadway was becoming a creative hub for both American and British artists, and it wasn't long before Sargent was drawn to its picturesque charm alongside friends Edwin Austin Abbey and Francis Davis Millet. Unbound by the societal pressures of Paris, Sargent began experimenting with light, colour, and composition. It was here in Broadway, while residing at Farnham House, the home of Millet, that he painted some of his most celebrated, transformative works. But unlike the masterpiece I saw a few days ago at National Galleries Scotland, the paintings hanging before me today are works rarely seen by the public, with a personal edge to them — mostly depictions of Sargent's closest loved ones. Starting with an affectionate tone, the exhibition opens with heartfelt portraits of Sargent's younger sisters Emily and Violet. His portrait of Alice Barnard, wife of illustrator Frederick Barnard, is a masterclass in textural depth, and a true feast for the eyes for those who view it in person. She stands tall and proud in a voluminous gown, rendered with brushstrokes that swirl through an array of greys and whites. 'The Barnards, along with their daughters Polly and Dolly, the models for Sargent's Carnation, Lily, Lily, Rose, were among the first of the group of friends to arrive in Broadway in the summer of 1885,' reads a plaque next to the painting. Sargent's oil depiction of Polly and Dolly lighting lanterns at dusk was painted during his time at Broadway and was inspired by the impressionists of the time, including Claude Monet. It would go on to become a highly influential work, not just for the artist himself, but for the English art scene to which he was contributing. Michael Shane Neal, chairman of the Portrait Society of America, notes: 'He exhibited the piece in London in 1887 and it quickly became a sensation. The English critics had refused to widely celebrate French Impressionism until this moment, when they found satisfaction from an American artist, painting in a French quasi-impressionist style, in England!' Of course, no John Singer Sargent exhibition would be complete without works depicting his beloved friend (and dare I say, muse) Flora Priestley. Lifelong friends, the pair shared a strong connection, and Sargent painted her throughout the 1800s. Two strikingly different portraits of Flora sit side by side on display, painted between 1885 and 1889, and in 1889 respectively. The latter — described as the most 'highly evolved' of Sargent's portraits of Priestley — is rendered in a fluid, vibrant style that exemplifies the development of his technique, which took London by storm in the early 1890s. In addition to the oil paintings that fill the intimate gallery walls are personal items of the late great painter in cabinets — his original palette, manufactured by C. Roberson & Co of London (which remain in business to this day) and a selection of his paintbrushes. 'The exhibition is small but beautiful, bringing to life the artist's family and close friends at a time when his career seemed in jeopardy,' said Sargent's great-nephew Richard Ormond. 'His summers in Broadway revived his creative energies and set him on a new course. He painted the people who mattered to him in highly individual and touching portraits that reflect the influence of French progressive art.' While most people look to blockbuster galleries in capital cities — like the Louvre or the Met — for breathtaking art, sometimes it's in a quiet English village that you unexpectedly encounter it, woven into the fabric of an artist's personal journey. A leading one of his generation, at that. + Megan French was a guest of Albatross Tours. They have not influenced this story, or read it before publication. + A visit to Broadway is included in Albatross Tours' Best of British. The 17-day tour starts and finishes in London, and visits Leeds Castle in Kent, Stonehenge and Salisbury, Bath, Glastonbury, Bristol and Tintern Abbey, Chester, the Lake District's Windemere and Grasmere, Gretna Green, Edinburgh and Alnwick Castle, Whitby and other spots in Yorkshire, Chatsworth and Stratford-upon-Avon, and Windsor. But it is at a slower pace, with a four-night stop, three of three nights, a two-night stop, and only one of one night. Travel is in a first-class coach with a tour manager, driver and local guides. The price includes 27 meals. Prices for 2026 are to be confirmed, but the price in 2025 was $13,347 per person, twin share, and $16,547 for solo travellers. and 0734 974 996 or 07 3221 5353 + John Singer Sargent and his Circle is at Broadway Museum and Art Gallery, supported by the Ashmolean Museum, until July 19, 2025. Open Monday to Saturday 10-4.30pm + Ticket prices are; adult £10 (or £16 for a guided tour), 65years+, concessions and students £7, and under-16s free. To book online, visit
Epoch Times
03-06-2025
- Entertainment
- Epoch Times
Award-winning International Portraiture
The Portrait Society of America (PSA) recently announced the winners of its 27th International Portrait Competition (IPC). The competition received over 3,000 entries from around the world, including works in oil, clay, wood, resin, pastel, charcoal, graphite, colored pencil, and Carrara marble. Share this article Share this article Leave a comment Lorraine Ferrier Author Lorraine Ferrier writes about fine arts and craftsmanship for The Epoch Times. She focuses on artists and artisans, primarily in North America and Europe, who imbue their works with beauty and traditional values. She's especially interested in giving a voice to the rare and lesser-known arts and crafts, in the hope that we can preserve our traditional art heritage. She lives and writes in a London suburb, in England. Author's Selected Articles May 30, 2025 May 23, 2025 May 09, 2025 May 01, 2025
Epoch Times
01-05-2025
- Entertainment
- Epoch Times
The Portraitists' Muse in the Washington Metropolitan Area
Religious art aside—if God created man in his image, there's no art more divine than the portrait. From May 8 to 11, some of the world's leading portrait and figurative artists will be drawing, painting, sculpting, and sharing their expertise at the annual Portrait Society of America's 'The Art of the Portrait' Conference, at the Hyatt Regency Reston in Virginia. Now in its 27th year, the conference champions the society's aims: 'to foster and enhance an understanding of the practice, techniques and applications of traditional fine art portraiture and figurative works.' The Portrait Tradition Portraits have been painted as far back as antiquity, as the lyric poet Horace (65 B.C.–8 B.C.) attests in 'Epistles, Book II': 'Suspendit picta vultum mentemque tabella' ('In painting, he shows both the face and the mind'). Renaissance artist and art historian Giorgio Vasari admired the tradition in his 1568 work 'The Lives of the Most Excellent Painters, Sculptors, and Architects': 'All the houses of Venice contain numerous portraits, and several noble houses have those of their ancestors to the fourth generation, while some of the noblest go even farther back. The custom is an admirable one, and was in use among the ancients. … To what other end did the ancients place the images of their great men in public places, with laudatory inscriptions, except to kindle those who come after to virtue and glory!' 'The Art of the Portrait' The conference opens on May 8 with the Face-Off event, when over 750 attendees will be able to see 18 faculty artists create portraits in oil, watercolor, charcoal, egg tempera, and clay directly from life, simulating how art apprentices once learned in traditional ateliers. In the evening, three upcoming young artists will demonstrate their skills. Many of the Face-Off event artists will present classes and workshops, and participate in panel discussions throughout the conference. They'll be covering every aspect of portraiture, including anatomy, the value of color, and the fundamentals of composition. Related Stories 4/19/2024 7/11/2024 French American figurative artist Shane Wolf was among the 15 world-renowned artists who created portraits from live models in the Face-Off event at the 26th Portrait Society of America's "The Art of the Portrait" Conference, at the Grand Hyatt Atlanta, in Buckhead, Ga., on April 25, 2024. Attendees of the 2025 conference will be able to see 18 eminent artists create portraits. Courtesy of the Portrait Society of America Among those artists is American Michelle Dunaway. In her 'Bringing Your Creative Vision to Life' workshop, she'll finish a complex painting that she's been working on for two and a half weeks. She'll show attendees 'how to bring out the finishing features of the face, [and] how to get the most important aspect of the portrait, which is the emotive content—not just the likeness of the person but the essence of the person,' she said on a recent Zoom call about the conference. American sculptor John Coleman demonstrated sculpting portrait heads of a child, a young woman, and an old man at the 26th Portrait Society of America's "The Art of the Portrait" Conference, at the Grand Hyatt Atlanta, in Buckhead Ga., on April 25, 2024. Courtesy of the Portrait Society of America For those unable to attend in person, the society offers a virtual ticket for the main stage workshops. Conference attendees can also schedule portfolio critiques, purchase discounted art supplies, and create portraits from life in the Free Drawing Studio run by three talented young artists. The 6x9 Mystery Art Sale also offers attendees the chance to own a masterpiece at a bargain price; after purchase, the society reveals the paintings' artists. International Portrait Competition The conference culminates with the Award Banquet & Gala on May 10, when the society announces the award winners of its International Portrait Competition (IPC). This year's IPC received over 3,000 entries from around the world, including works in oil, clay, wood, resin, pastel, charcoal, graphite, colored pencil, and Carrara marble. A panel of three judges took nine rounds to evaluate the entries. In addition to assessing the artists' technical skills, they also looked for original concepts and compositions showing aesthetic complexity and cultural significance. They selected 19 finalists' works: two sculptures, three drawings, and 14 oil paintings. These will be displayed at the conference, and members of the public can gain free entry to the finalists' gallery for the duration of the conference. During the conference, a fresh panel of judges will assess the finalists' works and determine how the award winners will split the $162,000 cash and prize fund, including the $50,000 Grand Prize. Select IPC Finalists British sculptor Tim Bates's portrait bust 'A.J.B' made the final cut. He apprenticed at Wells Cathedral Stonemasons in Somerset, UK, and is a Yeoman of The Worshipful Company of Masons, a historic livery company. As a classically trained stone carver and architectural stonemason based near Cambridge, UK, he's worked on many historic buildings. He also uses traditional stone-carving techniques to carve portraits in marble and limestone. He carved 'A.J.B' from the Carrara marble that Michelangelo favored. 'A.J.B.' by Tim Bates. Carrara marble; 11 3/4 inches by 11 3/4 inches by 15 3/4 inches. Courtesy of the Portrait Society of America 'My sculptural work is inspired by my experiences and interactions with people, places and things, in a fast-paced, ever-changing and all too often disposable world. Capturing these fleeting observations in the timeless medium of stone is my antidote,' he states on his website. He's looking forward to attending the conference and seeing how the processes of sculpting and painting portraits align. 'I'm extremely excited to see how painters work; it's not an area that I'm familiar with,' he said on a recent Zoom call about the conference. Accomplished American painter Alexandra Tyng's candid portrait 'As I Am' also made the final. She taught herself how to paint, largely by copying old masters' works and absorbing traditional art books. She's been exhibiting her art for over 50 years and has works in museums and galleries in the United States, the UK, and Estonia. She recently won the Allied Artists of America Associate Show 2024 Grand Prize for 'Worlds Within Worlds' and has won several top Portrait Society of America awards over the years, notably the First Place Award at the 2012 IPC for 'Year at Sea.' Tyng approaches each new portrait as if she's off on a 'new adventure.' She first gets to know and understand her sitter before envisioning the portrait in her mind, and often adds symbols to her work. In the aptly titled 'As I Am,' her sitter appears relaxed, sitting on a comfy wooden chair on a plain tiled floor. There's no indication of who or where he is. He's in shorts and shirtless, holding his glasses, as if he's just been interrupted from reading in the sun room. The portrait shows Tyng's knowledge of anatomy and her skill in rendering different textures: the wood, velvet cushion, shorts, and skin. 'As I Am' also demonstrates Tyng's knack for rendering the character of her subject. 'As I Am' by Alex Tyng. Oil on linen; 56 inches by 36 inches. Courtesy of the Portrait Society of America Honoring Brilliance In addition to the IPC awards, several special awards will be presented at the gala. American painter and sculptor George Carlson will be presented with the Gold Medal, the society's highest honor, given to artists who have 'dedicated themselves to excellence in their work and a commitment to educating their fellow artists.' For over 60 years, Carlson has deftly sketched, painted, and sculpted the American West. His art can be found in world-renowned museums and galleries. Carlson said: 'Back in art school, over sixty years ago, I began to understand how to use my eyes—to observe, to analyze, to appreciate. It takes a lifetime of dedication to truly develop that awareness.' The society's Gold Medal honors 'his lifelong pursuit of artistic excellence.' Ecuadorian sculptor Rubén Astudillo will be given his First Place, Future Generation Award (for artists 18 to 25 years old) for his portrait in resin. The society will present Signature Status Awards to American artists John Borowicz, Ali Cavanaugh, John Darley, and Canadian sculptor Louise Weir, honoring these 'practicing and accomplished artists who are dedicated to the educational mission and high aesthetic standards of the Portrait Society of America.' American artist James Gurney will be presented with the society's Excellence in Fine Art Education Award, which recognizes the 'contributions of museums, foundations, patrons, art schools, ateliers and artists that support the teaching and encouragement of artists seeking to work in the realist tradition.' A Greater Purpose The great Italian sculptor Gian Lorenzo Bernini (1598–1680) once said: 'What we have is given by God and to teach it to others is to return it to Him.' Many attendees return to the conference time and time again. It's a place to learn and connect with the spirit of art. Dunaway often hears her students say that attending their first conference changed their lives. 'We hear that a lot. … It is because [at the conference] you're with people that … can relate to struggles and successes that you've had and it's encouraging and inspiring,' she said. One of last year's attendees said: 'There was a feeling that we all belong to something greater than ourselves, that what we learn is to be handed down to the next generation of seekers; that generosity continues in the Portrait Society. There isn't a nature of hidden secrets and guarded techniques, but a spirit of great openhandedness that moves us all collectively into greater purpose, deeper meaning, and soulful portraiture. 'I was so amazed and grateful to be a part of it, to have learned and benefited from living masters, whose own lives had been made richer by the great artists who came before them.' The 27th Portrait Society of America's 'The Art of the Portrait' Conference runs from May 8 through 11 at the Hyatt Regency Reston in Virginia. Members of the public can view the finalists' gallery for the International Portrait Competition throughout the conference. The IPC award winners will be announced at the Awards Banquet & Gala in the Grand Ballroom on May 10. To find out more, visit What arts and culture topics would you like us to cover? Please email ideas or feedback to A Selection of Finalists' Works 'Yellow Trainers' by Frances Bell. Oil on canvas; 35 1/2 inches by 36 1/2 inches. Courtesy of the Portrait Society of America 'King of the Wild Things' by Anna Rose Bain. Oil on linen; 30 inches by 30 inches. Courtesy of the Portrait Society of America 'Heather Holding Flowers' by Thomas Root. Oil; 50 inches by 40 inches. Courtesy of the Portrait Society of America 'Watching the Tribal Dance' by Pavel Sokov. Oil on linen; 36 inches by 24 inches. Courtesy of the Portrait Society of America 'Morning' by Yi Lun Zhang. Oil; 39 1/2 inches by 23 1/2 inches. Courtesy of the Portrait Society of America 'Self-portrait at 45' by Palden Hamilton. Oil; 48 inches by 38 inches. Courtesy of the Portrait Society of America 'Mayor Michael A. Nutter' by Joseph Q. Daily. Oil on linen; 39 inches by 52 inches. Courtesy of the Portrait Society of America 'Dark Whispers and Black Lace: Passing of Youth' by Timothy Rees. Oil; 50 inches by 30 inches. Courtesy of the Portrait Society of America 'Pathologist–Portrait of Dr. Maurice Jamieson' by David Jamieson. Graphite, carbon black, pastel, ink wash on paper; 26 inches by 20 inches. Courtesy of the Portrait Society of America 'Newell Convers Wyeth' by Kate Brockman. Bronze; 23 inches by 14 inches by 18 inches. Courtesy of the Portrait Society of America 'Happy 100th Birthday Great Grandma Dot!' by Giselle V. Brown. Charcoal on gray tone paper; 20 1/2 inches by 28 1/4 inches. Courtesy of the Portrait Society of America 'Secret Sorrow' by Meghan Sours. Charcoal and chalk; 22 inches by 30 inches. Courtesy of the Portrait Society of America
