Portraiture: A Philadelphia Tradition

[Allan Rahbek]

Good luck to you all.
This group exhibition of portraits seems like a good idea because of the multitude of styles. I believe that I spot your portrait at the bottom left, Alex ?

[Alexandra Tyng]

Thank you all for your responses and encouragement! I can't tell you how much i appreciate the enthusiasm, professionalism, and general support of the forum "community." It does feel good to be doing something for portraiture--"giving visiblity to our trade" as you said, Ilaria. And, Sharon, I am glad you feel it is a positive step for the world of art. That's nice to hear.

Yeah, drat, Linda, how come you have such rotten timing?

Where were you looking at portraits without artists' names? I have noticed that problem, but mostly in hospitals, offices, universities, etc. They hire the artist and then once the job is done they forget there ever was an artist. But Philadelphia is so reserved about everything, it wouldn't surprise me even in a museum.

Thomasin, it's a funny thing how it happened. John Ennis and I tried to organize something local under the umbrella of the PSA but we couldn't get it off the ground. I asked Garth and he thought it was a good idea. We talked to someone at a local museum and they said we would have to make a formal proposal complete with budget! Not what we had in mind at all! In the end it was really not my idea, but the dea of the director of the Wayne Art Center. Maybe I had brought up something to her at one time, I don't remember, but apparently she decided it would be good thing to do, and asked me to help with a few things. It's funny how these things work out.

Hope that answers your question, Pam. I really didn't do any major organization, but I did put together a list of the portrait artists I knew, and did some e-mailing and that sort of thing. The art center added some other names of people they knew including faculty members. So I think the key is finding a director of an organization who is in the position of hosting an exhibition, and who likes the idea. With good work you can't go wrong even if the venue is modest, like a local art center with a good reputation.

Enzie, I'm really excited about the work, too. These artists are great.

Allan, yes, that is my portrait of Julian on the bottom left. There will be a lot of different styles represented, and I agree that will make it much more interesting.

[Linda Brandon]

Originally Posted by Alexandra Tyng

Where were you looking at portraits without artists' names? I have noticed that problem, but mostly in hospitals, offices, universities, etc. They hire the artist and then once the job is done they forget there ever was an artist. But Philadelphia is so reserved about everything, it wouldn't surprise me even in a museum.

Well, I was wandering around academic institutions and hotel lobbies, brooding about the invisibility of the many fine portrait painters I saw there. One of the differences between 'fine art' and 'work for hire' is that the artist gets to take the public credit (or the blame) for the resulting product. I suppose that in portraiture, there are two other strong competing claims for the visual rights to the product: the subject and the commissioning institution.

Furhtermore, if we were painting icons - devotional pieces which are themselves sacred and divine presences - artists would remain anonymous. Maybe we are painting icons.

Anyway, I suppose we could write it into our contracts that artists should be credited when a portrait is publicly displayed. I'm not sure how this would go over with clients, though; probably not very well.

The best thing to do is what you're doing with this show: reveal that portraits are painted by real artists.

[Alexandra Tyng]

Originally Posted by Linda Brandon

I suppose we could write it into our contracts that artists should be credited when a portrait is publicly displayed. I'm not sure how this would go over with clients, though; probably not very well.

Actually I'd be willing to bet that, if we wrote that into our contracts, no one would bat an eyelash. We are too wimpy

Originally Posted by Linda Brandon

The best thing to do is what you're doing with this show: reveal that portraits are painted by real artists.

Thanks, Linda, I hadn't thought of that angle. It's so elementary, yet so important and shouldn't be glossed over.

[Alexandra Tyng]

I'm happy to report that the opening reception went well! in spite of a slight lack of organization with PR efforts, attendance was good and we had some press coverage. We were also able to enlist the help of Al Gury, a painter and Chair of the Painting Departnment at the Pennsylvania Acadamy of Fine Arts. He wrote a short piece on the show and on the history of portraiture in Philadelphia which the art center made available as a handout.

Here are some photos of the opening:

1) A group photo of most of the participating artists.From L to R: Catherine Prescott, Addie Cooper, John Ennis, Ellen Cooper, Nancy Bea Miller, Alex Tyng, Garth Herrick, Ernie Norcia, Jennifer Frudakis, Glenn Harrington.
2) Garth and I with the Director of the Wayne Art Center, in front of Garth's work.
3) Ellen Cooper's work, including her PSA prizewinner centerpiece.
4) Here I'm chatting up a storm in front of my work.

[Alexandra Tyng]

Here are a few more photos:

1) My daughter and a friend (and Garth in middle ground) in front of Catherine Prescott's work.
2) Nancy Bea Miller in front of her work.
3) John Ennis's work (next to Nancy Bea's).

Help, Garth, my photos are not too great! You must have some better ones.

[Pam Powell]

Congratulations! Thank you for the photos, its a beautiful exhibition. I'm so inspired by all of you.