Procedure

A "Conversation Piece" is a painting about individuals rather than a portrait of them. The artist's interest is in revealing likeness through gesture and interrelationships. Her impressionist interpretation is an alternative to, not a painted substitute for, an exact photographic likeness.

The artist schedules photographic sessions with her subjects in an outdoor location, often on the beach at low tide or in the garden. The element of natural light is an integral part of the artist's composition, and sessions are usually scheduled to make use of early morning or evening light. The artist returns to her studio to render a sketch of the portrait. She sends a photocopy of the pencil sketch to the client for approval. The finished painting takes approximately six month's from client's approval of a particular sketch.

A deposit of 40% will be due in advance. Balance due at completion of commission and acceptance by the client.

All travel, lodging, framing, state taxes, when applicable and shipping expenses are in addition to the prices listed above.

On Commissioning a Portrait

Isabelle Dayton paints her own form of non-traditional portraiture which is called a "Conversation Piece". The goal of a "Conversation Piece" is to create a painting about individuals rather than a portrait of them. The artist's interest is in revealing likeness through gesture and interrelationships. Her impressionist interpretation is an alternative to, not a painted substitute for, an exact photographic likeness. The artist schedules photographic sessions with her subjects in an outdoor location, often on the beach at low tide or in the garden. The element of natural light is an integral part of the artist's composition, consequently, the sessions are usually scheduled to make use of the early morning or evening light. The artist returns to her studio to render several sketches for the client's input. She sends a photocopy of the pencil sketch, or a photo of the pastel or oil sketch. The finished painting takes approximately nine months from client's approval of a particular sketch.

My Approach

In commissioned work, my primary objective is to capture the sunlight as it touches the people I am painting. I am not a portrait painter. Portraiture is a genre of its own. People once had the leisure time to sit and be painted. Today, life has a dynamic quality. My desire is to paint this beautiful energy more through body gesture than facial expression. Surprisingly, people are readily recognizable in this dimension. Photographs are the documentary or the prose. I try to transcend that record of a moment, in the poetry of the timeless. Even though the facial gestures are altered by time, I hope the moment can be relived through my art.

My interest is not in smiling faces. What I am interested in is the "happening" that speaks of the interrelationships of the people involved. I cannot orchestrate this occurrence. It takes patience, observation, and over one hundred photos. The people have to relax and enter into an unselfconsciousness mode. When they become natural, interesting things take place.

The Setting

The angle of the light is significant. I do not like midday light. The shadows are too short and the light is too harsh. The early morning or late afternoon with the slanting rays offers the most beautiful times. On the beach, low tide is best. The beautiful slick sand creates an exciting reflection that repeats patterns of people walking. I ask for my clients to wear light colored clothes. Dark colored clothes are too strong for the high key palette in which I usually paint. The style of clothes should have a timeless quality that does not speak of this period. Bare feet on the beach seems natural.

The Photography

I prefer to take my own photographs, but realize that it is impossible in some cases. I must have a visually workable photograph and retain the right to refuse the commission if I am not happy with the content for artistic reasons. If a professional photographer is used, I request a waiver, signed with permission for me to use the photographs however I wish. I make many sketches in pencil, oil and pastel to arrive at a mutually agreeable format for the painting. I will consider these sketches mine to sell as I wish. The photographer must agree to the above before I will work with his photographs. I cannot use photos of school pictures, etc. except for enhanced reference, because I am painting the specific light of a day as it touches particular people. It is impossible to take the light out of context. The relative scale of the people involved comes into play too. I ask my clients to please give some thought to dress and location for photography. Also, it is important to relate to me the format for the finished painting (vertical or horizontal) prior to the photographs. I request that hair style and with or without glasses etc. be the same as the finished painting when I photograph. Because the photographs are my visual notes on the client, I bracket my exposures. The photographs for that reason, are not available to the client.

Practical Steps

I submit photocopies of a selection of drawings or photographs of the oil or pastel sketches to the client(s) for approval. When we have decided upon a drawing, the painting is begun. The time element is determined by the acceptance of the drawing and my work load at the time. More specific expectations for completion will be discussed at the time.

All commissioned work comes unframed. The client is responsible for paying 7% sales tax or crating and shipping out of state. I photograph the finished work and send the photo to the out-of-town client for approval prior to sending the art work. The total balance is then due.The pricing depends upon the size of the painting, the number of people in the painting and the travelling expenses. Price quotes are specified on the price sheet.