The connotations of pet portraiture and its potential for ‘cheesiness’ loomed large as I embarked upon this painting.
Here’s how it happened…
I had a beautiful gilded frame that was languishing, unused, in a cupboard; I wanted to work on something where I could use larger bristle brushes to block-in quickly and bring to a finish within a limited number of layers; I was interested in representing textures such as fur and material, while adding weight and form; I’d always promised myself that one day I would immortalise Sophie in paint.
The element that was the biggest priority for me was portraying the psychology within the subjects – both Sophie and the toy pig. I think I have achieved this, and moreover, I have captured exactly my dog. Not any spaniel, but my spaniel. The glint in the eye is hers, and the shock and helplessness of the pig perfectly highlights the kind of Anthropomorphism I easily apply to anything with a face.
Technically the painting went so smoothly I had pinch myself. It was done in about 4 shots, with a final couple of hours sharpening crucial edges and refining features such as the shiny eyes and damp nose. The most difficult aspect was determining the background. I had initially imagined a light, contemporary colour, but in reality it just looked too weak. I tried a textured background, but that looked careless and detracted from the important textures of the main focus. Finally, after discussion with my friend Mike Skidmore, I decided that a flat, dark (slightly menacing) background would emphasise the characterisation, as well as elevate the status of the subject in the manner of Old Master portraiture.
The main stages are shown below. I will add a photo of the painting in the gilded frame as soon as I have fixed it in place. I think it’s going to be a picture I hold very dear in years to come.
