Unveiling spotlights a recently completed portrait commission or figurative work from some of the best and most active members of the Portrait Society of America. This month, Kimberly Azzarito, Assistant Director of the Portrait Society, interviewed Ruth Fitton about her recently completed portrait commission of Jane Hall, Master of the Merchant Taylors’ Company.

Unveiling

Celebrating a Historic Achievement: The Portrait of Mrs. Jane Hall

By Kimberly Azzarito

Ruth Fitton, a portrait and figurative artist based in Yorkshire, England, recently unveiled a remarkable portrait commissioned by the Merchant Taylors. The Merchant Taylors’ Company was originally an association of citizens formed in support of the craft of tailoring, but over the years members’ interest spread into commerce, philanthropy and education. Commissioned to celebrate Mrs. Jane Hall, the first female to be elected master of the organization since its founding in the 13th century, Fitton was one of four artists being considered to paint her portrait. Merchant Taylors discovered Fitton through the London gallery Fine Art Commissions where Mrs. Hall saw one of her portraits and fell in love with it. About the process, Fitton shares, “There was a selection committee involved and interviews with Mrs. Hall—it was all very rigorous! I think in the end it was my willingness to step outside the nine dots in terms of composition and content, which secured me the commission.”

Ruth Fitton, Jane Hall, Master of the Merchant Taylors, oil on linen, 80 x 40"

Once selected, Fitton met with Mrs. Hall and set about meeting the challenge of creating a portrait that was “authoritative yet soft.” Mrs. Hall wanted to include a gilded mirror bearing the Merchant Taylors crest, which she had personally restored years ago, as well as her Merchant Taylors robes. These things combined with ease to create a strong composition. The artist then decided to paint Mrs. Hall from a slightly lower angle to evoke authority, with softness coming from the expressive hand gesture and the dual light sources. Sittings took place in Merchant Taylors’ Hall, and the organization’s emblem is repeated throughout the painting, from the pattern in the carpet to the ceiling reflected in the mirror, and the design of the mirror itself. A large part of Mrs. Hall’s role as master was guiding the organization through the pandemic in 2020. Mrs. Hall wanted to reference this, so Fitton included a Venetian plague doctor’s mask in the painting, tucked in the shadows, toppled on its side and no longer a threat.

Fitton has been commissioned by a diverse clientele, from boardroom executives in sectors spanning construction to agriculture, to a portrayal of the esteemed Harry Christophers, founder of the Sixteen choral group. The artist’s repertoire is expansive. One notable work involves a conversation piece featuring three prominent figures from the racing world, commissioned by the Jockey Club Rooms.

While Fitton continues to capture the essence of individuals through commissioned portraits, she is also passionate about narrative figurative work. The artist’s love for narrative painting with a whimsical touch is evident. These works delve into human interactions, focusing on themes of resilience and courage. With a debut solo show on the horizon at a prestigious London gallery, Fitton is diligently crafting a collection that promises to captivate and inspire.

As we discuss the shifting landscape of portraiture, Fitton notes that while corporate commissions have gained prominence over the years, personal portraits still hold their cherished place. The artist believes that family bonds and love remain timeless, transcending trends and always deserving of celebration.

As I get to know Fitton and her work, I realize she is a storyteller of faces, emotions and legacies. With every stroke, she weaves tales that bridge the gap between the past, present and future—portraits that reflect not just individuals, but the essence of humanity itself. —