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Your Portraits

Interview with Jean Miller Harding - "When it comes to the process , one always thinks of line and then mass."

SP: When did you become interested in painting portraits?

JH: I had been a medical illustrator for twenty years and about 15 years ago I realized that computers were going to be taking over the traditional way of doing medical art. As a commercial medical illustrator, I was hired by advertising agencies, pharmaceutical companies or publishing companies. Traditionally, we would have brainstorming sessions where the staff would throw out ideas and I would quickly do sketches of these ideas that I would later use for my final airbrushed illustrations. The transition from this way of doing medical art to the computerized way came a lot faster than anyone had expected. A decision had to be made as to what I was going to do with the rest of my life......... become a computer nerd or find a way to keep on painting. Before I went to Medical School to get my degree in Art As Applied to Medicine, I had a degree in Fine Art History from U of T. specializing in European Art. I decided to go back to my roots...which was my love of renaissance art and painting in a realistic classical style. So, I ended up going to Florence, Italy to work with an old teacher of mine who I'd known in the '70's, John Angel. And then I was off to New York to the Portrait Institute which was headed up by the famous portrait artist, John Howard Sanden. So I learned to put clothing, skin and hair on muscles and bones and tell a different story. Having a sound knowledge of anatomy strengthens the ability to create convincing depictions of the human form.

SP: What are the differences between doing the commercial art and painting foryourself?

JH: As a professional fine artist , very few paintings are done for oneself. About fifty percent of my work goes to the retail galleries......and the other half of my work is on commission, mostly portraits. I am always working within the parameters of other people’s ideas, so it's very similar to commercial art. I do experiment a lot......but my professional goal is still to satisfy my clientele.

SP: You mentioned on the set that the process is very important. Have I overheard correctly?

JH: Yes. The process is very, very important. The process of drawing and of painting is always the same. And it doesn't matter what the genre is. In fact, I think I mentioned at one point that the portrait artist has been described in the past as the prince of artists because one has to be a master in the genre of figurative, landscape and still-life as all of these elements are often included in painting a portrait. When it comes to the process , one always thinks of ‘line’ and then ‘mass’. First of all, there are the lines -- all of the landmarks, whether it's charcoal or pencil or whatever one is using -- and then one masses in the volume. It is easier to have a neutral background, then you mass in the dark, then the light ( the mid-tone is already there as the background), then lastly the details and highlights are added. Whatever medium is used, it is pretty well the same process. As for portraits.... everyone has two eyes, a nose, and mouth. So what the artist does is look for defining characteristics. The artist does not copy but interprets what he sees, selecting and emphasizing some aspects and suppressing elements and details that do not fit into the chosen aesthetic objectives. That's pretty interesting! Yes, I love my job!

SP: It seems so, that's great. How would you describe your work to someone who has never seen it before?

JH: I would say, I am a contemporary romantic realist using classical techniques...but sometimes I like to add little impressionistic passages for interest .

SP: How did you think Star Portraits was going to be when you were on set?

JH: When they first asked me, I debated about doing it. I had talked to others from last year’s program and one of my gallery owners. With their positive attitude, I thought "Ok, stress aside, I'll do it". At first, it was stressful...... there were so many distractions. But I just love the process of painting.....the physical sensation of drawing and painting and when I began, the endorphins started to flow . All the distractions of the cameramen, etc. absolutely faded away. I said to myself , "I have been doing this, drawing and painting, from life and doing commissions, for thirty years.....so get a grip". Within five minutes I was able to focus in on the sitter and be able to discern the conversation between Louise and Tanya and I just got into the zone. I had a fabulous time. It was a wonderful experience; one of life’s memorable events. I came back to the studio and was really excited about jumping right into the painting.

SP: Did you find it a challenge to finish it in two weeks?

JH: Absolutely not! (Laughs.) In fact, Dean , from Star Portraits, phoned me and had to slow me down. I had five paintings done the first week, and he said, "Well you've got to leave something for when the crew comes to your studio". I actually left ‘Miss Louise’, Tanya’s dog, to paint.

SP: How has your work changed over the years?

JH: I've been able to hone my hand/eye coordination and that takes years and years to do. My visual acuity has really sharpened. Style-wise, I have explored a lot of different styles but always within a parameter of realism. It is a continuous learning process. Even the great portrait artists who I admire so much, all say that even in their eighties they are still learning. I think I will just keep on experimenting with ideas, but the process of producing art is always the same.

SP: Can you name some of your influences?

JH: I took a degree in art history, so I think I am a compilation of a lot of different artists. An artist is visually influenced by the best of what one’s sees and it is subliminally incorporated into one’s work.

SP: Where do you see yourself taking your artwork in the future?

JH: A continuation of what I am doing. I have hit a stride that I am loving and I keep meeting so many interesting people because of my art. I love working with the galleries that represent me....... so I just want to continue on this upward trend.

SP: Would you like to say something about commissioned portraits?

JH: I would love to say that portraiture is alive and thriving and very contemporary in Canada. What we did at Star Portraits is not the real way that portrait commissions are done. Can I discuss that?

SP: Yes, for sure. I have actually heard that portraiture is growing in Canada, so I'd love to hear your thoughts on why.

JH: Why? Because a portrait is a celebration of life and people are accomplishing so much these days. It is also the latest luxury item.....and special because it is not mass produced by a machine.....it’s one of a kind. The way we did it on Star Portraits is not the real way a commission is done though. There should be no surprises whatsoever. It is always a collaborative affair between the sitter giving voice to his or her vision and the artist just aiding in this visualization. If someone is thinking about having a portrait done, it is very important for the artist to know where it will hang, and whether it is going to be a personal or an institutional painting. This gives a guide to the interpretation, concept, and composition of the painting. For example, the sitter chooses the location, the clothes, the props, which creates a personal story. The artist's job is not only to capture the likeness of the person but also to penetrate the complexities of the individual's personality and record that elusive sense of character. All of this recording on the artist’s part is done artistically. When I did Tanya's, I used very loose brush strokes with an arrangement of lights and darks. I used a very light colour palette for harmony, using mostly grays to give it mood and atmosphere. To put emphasis on her face, I used contrasting warm colours . The show has been great because I think it has shown that there is a style to suit everyone's taste. Taste is something that's honed by exposure. A great portrait must be more than just a technically well-crafted painting......it must attract and move the viewer on a deeper level.

SP: You mentioned the sitter normally chooses the background. Did you find it harder to bring in all those elements that were a part of Tanya's life?

JH: That is part of the listening process that must go on when you are at a sitting. You must pull in all the different elements that a sitter talks about and the artist observes. Tanya talked about her dance background, her music background, her dog. Her heritage was very important. Her jewelry was very important. I watched the way she flung her hair so I realized that was very important. All of these little elements are parameters that I had to work with. Her official ‘day job’ is to be beautiful, intelligent, attentive.....to be a listener.....an entertainer......and on the other hand , she gave us a hint of her private life..........that all had to be expressed in the painting. Was it difficult to bring in all those elements? No, that’s my ‘day job’.

Artist Stats

Jean Miller Harding is a Canadian born artist, receiving an undergraduate degree in science and fine art history. She entered the Faculty of Medicine programme in Medical Art at the University of Toronto, graduating with honours. Thereafter she embarked on a successful career as a freelance commercial medical illustrator in North America. During this time, she also studied portraiture with John Howard Sanden at the Portrait Institute in New York City and classical realism in Florence Italy with Maestro Michael John Angel.

www.millerharding.com