Why I paint people
Pier People Watching, oil, 40 x 50”, private collection.
Painting people is my favorite
I have always been attracted to paintings of people. I find the human body fascinating in its complex system of moving parts that vary from person to person, and I like exploring how figures express emotions through body language which can be read at a glance.
Figures are typically the focal point of any painting as they tend to draw our eye before we notice the rest of the scene. I’m intrigued by the interconnected shapes that human figures make, the way that light and shadow on figures suggest form, and the mystery that figures add as we ponder their experiences.
Recently I have realized that creating scenes of people together during moments of happiness is also a way for me to deal with the daily bombardment of negative news. Reading stories of human suffering, ongoing environmental destruction, and failing institutions can be overwhelming. I try to do what I can to work toward solutions, but it’s never enough. By painting these scenes of harmony and beauty, I am immersed in these reassuring moments of joyful everyday activities. I hope that seeing my paintings has the same uplifting effect for my viewers.
Pink on the Street, oil, 24 x 24”. Available, click on image for info.
Why an introvert paints people
I admit that, as an introvert, it’s a bit strange that people are the focus of my work. You would think I would paint lonely buildings and solitary people like Edward Hopper, but I have always liked painting groups of people who are interacting.
Even so, I do tend to show people from a distance as an observer. Except for commission work, I never include a figure looking directly at the viewer, which would invite them to be part of the painting. Instead, my images tend to feel more like a scene in a play. When I take photos, I prefer being unobtrusive and watching the scene unfold, all the while considering how I would turn it into a painting
This sense of distance in my paintings can add to the mystery of the scene. We tend to wonder; Why are they there? What are they thinking about and feeling? What will happen next for them?
These open questions also create a certain ambiguity that allows the viewer to put themselves in the painting and experience the scene for themselves. So many times when people see my paintings they say, “I wish I were there!”. That tells me I’ve created artwork that is beautiful and connects personally with the viewer.
Follow Me, oil, 30 x 30”, private collection.
Photographing people
When I’m taking photos for my paintings I start by looking for groups of people doing interesting things together. I use a long zoom lens to focus on them while I wait until they arrange themselves into an interesting formation. I’ll take lots of photos so that I’ll be sure to capture the slight tilt of the head, the body position, or the telling gesture that suggests a story.
Besides interesting people, I also look for the for the following things because they suggest happiness and fun:
Couples and families
People in motion
Cafe scenes with umbrellas
Bicycles, motor scooters
Hats, bags, suitcases
Dogs, dogs, dogs
Anything red
Windy Lunch, oil, 30 x 30”. Available, click on image for info.
No faces?
Sometimes people ask me why I don’t put more detail in the faces in my paintings and why sometimes my figures have no features at all.
Interestingly, I was a portrait painter for many years. I was working to capture the essence of that particular sitter, and was looking for characteristic nuances of expression that expressed their personality.
Now I prefer painting people with very simplified faces because I want the focus to be on the overall story. For instance In the Windy Lunch, above, I have rendered the faces as loosely as possible in order to make the people more generic. This way the figures and their expressive body language contribute to the scene as a whole instead of standing out as individuals.
Coffee & Gelatto, oil, 16 x 16”. Available, click on image for info.
In the painting above, I’ve made the features as soft as possible, so instead of asking, “Who are these people?”, you ask “What’s happening here?” and you notice the connection of the people and the sunlight hitting the figures.
I enjoy the challenge of capturing people in my artwork, and I continue to look for ways to tell interesting stories in beautiful cityscapes.
Thanks for reading!
