The poet W.H. Auden (1907-1973) wrote, “An honest self-portrait is extremely rare because a man who has reached the degree of self-consciousness presupposed by the desire to paint his own portrait has almost always also developed an ego-consciousness which paints himself painting himself, and introduces artificial highlights and dramatic shadows.” 
Robert Lange Studios, Arm in Arm, oil, 48 x 32", by Mia Bergeron
When I think of Philip Harris’ portraits, and his figure paintings in general, I think “uncompromising”—but I don’t really know what that means. So, I’ve settled on “honest” or, maybe, “authentic.” He has said, “I paint primarily by instinct and trust that above intellect. My intention is to make emotionally charged, expressive and authentic paintings which are as uncomfortable and challenging as life is.”
I met him at his home in The New Forest in the South of England. He had won the 1993 BP Portrait Award a few years before, and on the day of my visit, had just cleaned up from the muddy job of digging a pond in his garden. In his spare time, he’s a cyclist with the New Forest Cycling Club.
Recently he has done a series of one-and-a-half day self-portraits. He says, “I wasn’t particularly confident that I’d produce anything worthwhile in that time frame. Speed painting is not my game. I made a few that went straight in the garbage. Didn’t take long though before I hit my stride. After a week or so I was flying. By the third week, I was so in the zone that I couldn’t have made a false mark if I had tried. In sport we call this ‘The Flow State.’ I really enjoyed making these, I think it shows. I made a total of 18 self-portraits in five weeks.”
RJD Gallery, Bee-Lieve in the Mission, oil on ACM, 30 x 24", by Grant Gilsdorf
Frank Oriti observes, “I think there is always an effort toward being honest and trying to paint myself ‘as I am’ in that particular time in my life—in that moment. Physically, it’s always interesting to see changes happening between clothing, hats, hairstyles, overall tiredness and appearing worn down!” 31 is from a series of annual self-portraits he began after graduate school. “I think after studying Rembrandt’s paintings and his self-portraits specifically, I became fascinated with documenting my own appearance and process of aging,” he says. “I can recall making this portrait. My approach was a little different to making the piece in that, at the time, I was struggling with the materials I was using and becoming physically ill from over exposure to my painting mediums without proper ventilation. I had become very comfortable working in numerous layers of glaze with really thin paint, but I recall using a much more direct approach to painting in this portrait.”
RJD Gallery, 31, oil on panel, 20 x 16", by Frank Oriti; Philip Harris, S.P. 14, 2021, oil on linen, 8 x 8"
He became known for his compelling portraits of people of his generation who left the working-class suburbs of Cleveland for college and the military, and then returned. He worked in a steel mill himself between college and grad school. He painted his peers in the clothes they showed up in and he became fascinated with the color and texture of denim, leather and sneakers—the focus of his paintings for the past few years. He says, “While the last year and a half has sort of changed my thought process on many things, I would enjoy getting back to my self-portrait series with even more of a concentration on narrative and personal storytelling.”
Tracy Frein, Picture of My Dreams, colored pencil, 25 x 20"
Mia Bergeron tells a story of dealing with the “shoulds” of our inner world that begin to pile on early in life…“who we should be, what we should be doing, how we should think, etc. It could also be about the creative process, politics, social media. Heck, even past relationships. It’s the junk we carry around with us, that we can’t totally ever get rid of, but that doesn’t have to break our strides forward and our calm. We don’t have to lose ourselves to the dragons—we can walk forward with them around our waists anyway.”
She documents the arduous process of making her concept work on her Instagram page. When I ask her why the dragon is transparent, she replies, “I wanted the viewer to understand that it was a symbolic reference. Somehow, keeping it floating between opaque and transparent seemed like a fitting visual tool. The transparency also refers a bit to how it feels to walk around with those ‘shoulds’—sometimes we feel them heavily, sometimes we feel free of them.”
Top: Studio 7 Fine Art Gallery, Neighbor, watercolor, 20 x 20", by James Fiorentino.; Bottom left: Gross McCleaf Gallery, Portrait of Katie with Mirror, oil on linen, 30 x 24", by Scott Noel; Bottom right: Gross McCleaf Gallery, Portrait of Carol, oil on linen, 26 x 20", by Scott Noel.
Although every painting an artist creates is a bit of a self-portrait, Bergeron, Oriti and Harris reveal more in their actual self-portraits. In them we can see ourselves.
Throughout this special section, you’ll hear from artists and galleries who are inspired and challenged by the portrait. They share their stories and adventures, along with advice in establishing or growing a collection for the genre. 
RJD Gallery, Purgatory, oil on canvas, 24 x 20", by Rachel Moseley.
“The art of portraiture has existed since recorded time and has always illustrated the basic human need to record and celebrate ourselves and those we love,” says RJD Gallery. “Portraits, usually a painting or drawing, allows us to share how we see ourselves and how we would like to be seen. Now, in these times of visually rich social media, people frequently present themselves in self-portraits or selfies, leaving not a hint of mystery behind their gaze or pose. A portrait painting, however, acts as a three-way mirror and lets the relationship between the subject, artist and viewer flow, so what is to be revealed is held in the hearts and minds of each who may see or feel something different, revealing their thoughts not only on the portrait but of themselves as well.”
Tracy Frein, When Sadness Veils Your Vision with Despair, colored pencil 20 x 24"
The portraits of artist Cecilia Anastos will give an aura of authority to any room they hang. Her piece 24-David makes you wonder what’s hidden in the direction she’s looking. “This is the figurative portrait of Lina Esco, in her role of S.W.A.T. Team member Chris Alonso, with the call sign of 24-David,” Anastos explains. “The choice of palette (chromatic blue) has to do with blue being the color of law enforcement. There is a certain gaze that I seek when I create a figurative portrait. Esco has that gaze—no smile, concerned or pensive expression and a look of self-confidence.”
The experience of making a portrait from life is central to the studio work of artist Scott Noel, represented by Gross McCleaf Gallery. “I started painting portraits while in college over forty years ago and continue to this day,” Noel explains. “I tend to evaluate my efforts in figure composition and even cityscape with analogies to portraiture because I want all my pictures to express an encounter with the presence and character of something seen. A philosopher has described the feeling of truth in such encounters as something ‘coming to light,’ something formerly concealed suddenly illuminated. Good portraiture feels like this…”
Stone Sparrow NYC, Selfie in Red, oil on canvas, 36 x 24", by Weldon Ryan
Gross McCleaf thinks collectors should consider portraits for their collecting journey, even and especially when the subject is unknown. “We’ll all eventually be lost to history and memory,” says the gallery, “but a great portrait is a message in a bottle with the possibility of making it to the far shore of time with its cargo of human presence.”
For Patsy Lindamood, her preferred portrait style is one which captures the subject in a moment, in the act of being themselves. “These behavioral moments tell a story, sometimes revealing or invoking an emotion from the viewer, more powerfully than formally posed portraiture can,” she explainss. “While I have executed numerous portraits in pastels and in colored pencil, my creative heart ‘sings’ when a client requests graphite. Absent the romance of color, the success of the graphite portrait relies upon line, shape and value to render a compelling, engaging portrayal of individuality.”
Left to right: R.J. Palat, Peace and Rest, oil, 14 x 11"; Stone Sparrow NYC, Dominican Kerchief, oil on canvas, 24 x 18", by Weldon Ryan; RJD Gallery, Animal Nature, oil on canvas, 28 x 18", by Geoffrey Laurence
Artist R.J. Palat says, “If, during your busy day, a piece of art grabs your attention and gets you to stop in your tracks, something about that piece of work resonates with you. Whether it’s the scene being portrayed, the items in the still-life or your favorite animal, something about that piece relates to you. Portraits are no exception.” The artist also believes that we’re always drawn to a good story, and “whether you’re a more traditional artist or contemporary visual storyteller, portraiture has at least half the battle won when it comes to a story because we already have something to relate to: us as people.” He adds. “Portraits can be a window to a time decades ago or a reminder of what we aspire to be.” 
Left: Linda H. Reynolds, 2020, oil on linen, 40 x 30"; Right, top: Studio 7 Fine Art Gallery, Panduang Woman (“Karen Hilltribe"): Ban Nam Phiang Din, Northern Thailand, cast bronze and blown glass, 16 x 8½ x 9½, by Miles Van Rensselaer; Right, bottom: Zenith Gallery, VP, Kamala Harris, fabric collage, 22 x 18", by Mirira Karra
With any portrait, Joseph Accorso’s goal is to produce an image that is based in realism, feels alive and invokes a tangible feeling or emotion. Pulling from his background in landscape painting, he incorporates impressionistic strokes, brighter colors and more detailed environments. “When working on personal portraits like the one [shown here], I can be more expressive and convey the passion and vibrancy of the subject,” Accorso explains. “I believe a good portrait must present a truthful representation of the subject, whether that be realistic, psychological or abstract.” Accorso does commissions of all types—portraits for public view or personal portraits.
Patsy Lindamood, Brand New Outlook, graphite on cradled ampersand claybord, 18 x 24"
Studio 7 Fine Art Gallery is a 2,500-square-foot gallery located in the beautiful rolling hills of New Jersey, an hour ride by train from New York City and Philadelphia, and is celebrating its 20th year of bringing art to the tri-state area. The gallery represents over 30 artists, with numerous portrait artists including Charlie Churchill, Janet Cunniffe-Chieffo, James Fiorentino, Gary Godbee and Stanley Yeager. They also display over 200 paintings along with bronze sculpture and a large selection of studio glass, paperweights and perfumes. 
Patsy Lindamood, Lean In, graphite on cradled ampersand claybord, 16 x 20"
The portrait work of Weldon Ryan, represented by Stone Sparrow NYC, is deeply rooted in his personal history. Born in the Caribbean on The Republic of Trinidad and Tobago, he moved with his family to the Bronx when he was 6 years old. He grew up wanting to be an artist, graduating from FIT in 1981, but eventually found himself on the police force with the NYPD.
R.J. Palat, Sundays Best, oil, 14 x 11"
Weldon was the first African American to be appointed to the New York City Police Department’s Composite Artist Unit in the forensics department. It is with an attentive eye that Weldon, now retired from the force, approaches the canvas and gives his work life…His work celebrates the lives of those in his community by painting them in bold colors, powerful compositions and a keen eye for realism. 
Patsy Lindamood, Two of a Kind, graphite on cradled ampersand claybord, 24 x 36"
On view through August at Stone Sparrow NYC is the exhibition Urban Portrait, which includes Ryan’s artwork. When collecting, the gallery advises choosing a portrait of someone who speaks to you or “someone who stirs some kind of emotion in you. Weldon’s work certainly does that.”
Stone Sparrow NYC, Fences, oil on canvas, 36 x 36", by Weldon Ryan
“As a figurative artist, my goal has always been portraying the wide spectrum of moods that define us as people,” says artist Linda H. Reynolds. Her piece 2020 shows an “everyman” in a state of overall distress. Hand to head, sitting in the glow on the ever-present TV screen, blasting the horrors of the global pandemic we found ourselves in. The angles of the room are distorted and the spiraled composition suggests a spinning out of control. A harsh yellow light emanates from a side hallway, and the balustrades aimed directly at the subject’s head serve to enforce a sense of mental chaos. 
R.J. Palat, Lost in Thought, oil, 10 x 8"
Much like Reynolds, artist Tracey Frein draws his inspiration solely from his subjects and their hidden emotional truths. “Each subject is a compelling visual portrayal of the human spirit, determination and courage,” Frein adds. “I strive to show the viewer that while at first glance, my subjects seem serene and normal, but show a sense of inner fragility. Capturing this inner fragility is what has moved me forward, documenting my subjects and their dealing with mental illness. I hope in some way my work will help transform or inspire your life. My subjects are sharing a reflective impression of their soul to the collector who experiences it.”
Clockwise from top left: Joseph Accorso, Howard, acrylic on canvas, 18 x 24"; Zenith Gallery, Bridges of a Promise – Amanda Gorman, watercolor, 24 x 18", by Cheryl Elmo; Zenith Gallery, Lipset Family, oil on linen, 42 x 60", by Bradley Stevens.; Cecilia Anastos, 24-David, acrylic, 24 x 18"Zenith Gallery, located in Washington D.C., represents noteworthy portrait artists such as Bradley Stevens, who has been a professional portrait painter for 40 years. His works hang in the U.S Capitol, National Portrait Gallery, U.S. Department of State and many other prominent collections. Stevens believes a successful portrait is more than a representation of one’s physical self and should also reveal the subject’s spirit and personality. Also at Zenith is Mihira Karra, a fabric collage artist who seeks to capture the essence of a person’s life through collaged images of faces. Images printed on fabric are cut and pasted as part of the portrait. The gallery also features artwork by Cheryl Elmo, a contemporary painter inspired by capturing life’s moments. Primarily working in watercolor medium, her paintings are contemporary in look with a high degree of color. —
Featured Artists & Galleries
Cecilia Anastos
Ramona, CA, cecilia@ceciliaanastos.com
www.ceciliaanastos.com
Gross McCleaf Gallery
127 S. 16th Street, Philadelphia, PA 19102
(215) 665-8138, www.grossmccleaf.com
Joseph Accorso
josephaccorso@yahoo.com
www.josephaccorsoart.com
Linda H. Reynolds
(302) 981-8553, lhrportraits@aol.com
www.lindaharrisreynolds.com
Patsy Lindamood
(352) 339-2353
lindamood@lindamoodart.com
www.lindamoodart.com
Philp Harris
www.philip-harris.com
R.J. Palat
(213) 655-7374, rlpalat@hotmail.com
RJD Gallery
227 N. Main Street, Romeo, MI 48065
(586) 281-3613, www.rjdgallery.com
Robert Lange Studios
2 Queen Street, Charleston, SC 29401
(843) 805-8052
www.robertlangestudios.com
Stone Sparrow NYC
45 Greenwich Avenue
New York, NY 10014
(646) 449-8004
www.stonesparrownyc.com
Studio 7 Fine Art Gallery
5 Morristown Road
Bernardsville, NJ 07924
(908) 963-0365
www.studio7artgallery.com
Tracy Frein
tracyfrein@gmail.com
tfrein.artspan.com
Zenith Gallery
1429 Iris Street NW
Washington, DC 20012
(202) 783-2963
art@zenithgallery.com
www.zenithgallery.com
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