You can imagine my excitement when I received the request from a patron in Texas for a new Madonna for his private residence. As you know, portraiture is a love of mine. And whose portrait would I rather attempt than that of my heavenly Lady, the Mother of God! For a Catholic artist, this is an honor and a dream. I have depicted the Virgin Mary before, but never had such an opportunity to focus on a Madonna painting and produce to the best of my ability in her honor.

​The intention was to execute this painting this spring. Coordinating was a bit of a challenge (much like all endeavors these days), with no ability to make advanced plans and everything uncertain. Fortunately, I was able to work with a local model and the other artist friend joining me in the studio is very close by as well — so when the moment arose that all parties were available, we were able to act quickly! The model’s time was very limited and I was under deadline on my latest children’s book illustrations, but we managed to squeeze in a good number of hours in the studio in one week’s time.

A makeshift canopy-type structure from cardboard served so that the shadows would be intense behind her while also allowing the natural light from my window to fall directly on her face, causing a strong compositional contrast and highlight. With this in place, I was able simply and immediately to achieve one of the main elements of these reference paintings: a deep background and very light foreground.

​On the Saturday before the modeling week, we all gathered in the studio to set up and Deirdre came to help drape the model so I could set the style for our Marian pose. With the above paintings as my inspiration, I was looking for a color palette and style that was both rich and simple, while also working with the very fair skin tone of the model. 

​After the week’s worth of work with the live model, the halo was the final touch still lacking. After considering a fine, tilted gold ring for the halo, I ultimately landed upon this glow to gently emphasize the holiness of the Virgin. A few subtle changes to the face served to idealize and distance the image from the model’s actual look.

Altogether, the process was rapid-fire due to the constraints of working in the midst of cultural crisis! But all went very smoothly. It was an absolute honor to do this work.


From the beginning of the project, my patron and I had discussed back and forth about the right frame style for this image. That conversation concluded, the choice was a vintage gold frame which arrived here just days ago and with which I’ll be finalizing the painting this coming week before it ships to its final destination.

So, without further ado, I offer you my Morning Star Madonna, an initial contribution to the massive and venerable tradition of Marian oil paintings. My profound thanks to the collector who made this endeavor possible by his patronage! I hope it will be a significant enrichment of his home.

Please stay tuned as I will be offering a very limited number of giclée prints of this image in the coming weeks, exclusively to my newsletter subscribers. It will be my great pleasure to be able to offer high-quality reproductions to a few purchasers so that we can further spread the work enabled by this commission.   ​

I'm very pleased to share with you one of my major projects from 2019: my first formal portrait in oil of my wife, Deirdre.

I set out with the cooperation of my gorgeous wife, Deirdre, to make a beautiful and elevated portrait of her. I have long wanted to attempt a portrait of my wife that was more than a quick pencil sketch (which I often have the pleasure of doing) and I'm very grateful that I was able to work on it this year.



We set about gathering together three or four different outfits a few weeks before the sitting. I took these outfits in the studio to coordinate and harmonize them with different background draperies and other props that I had well before Deirdre came in for the photoshoot. With this previous preparation we were able to set about posing and snapping photos of Deirdre in the context of my studio's wonderful North light. (I actually had her come into the studio on her birthday!)
 
During the process I would take dozens of photos, giving Deirdre some direction about her pose ranging from asking her to perform small actions like straightening her hair or setting out a fan to inspire or discover a pose that I had not yet imagined to asking her to tilt her head slightly one way or another to refine a pose that was already working very nicely. Every once in a while I would give Deirdre a break from posing and we would discuss the images that we had taken so far and she would be able to give me immediate feedback about what her favorites were. After about an hour and a half, 300 pictures, and various adjustments, we went back home to start the sorting and editing process.

After hours of sorting and editing I narrowed the source material down to four photos and let our Beauty Advocacy community help us decide on the final! (thank you!) Then the work of the final painting got started.

As we went through the development of the painting it was fascinating to both Deirdre and myself how the image was transformed. A painted portrait from a photograph can never be an exact copy (which is a good thing). It will always be changed in some way through human eye and mind. It was remarkable to see how some slight shift in an eyebrow or the curve of the lips could bring about large changes in the tone and expression of the sitter and the feel of the painting altogether. I hope that the crafting of these nuances has brought about a deeper and truer image of Deirdre than the camera was able to capture; one that is in fact more reflective of her personality, warmth, and dignity.

1) The process is fluid. 

A patron may expect to walk in, have the artist line up three shots systematically, execute according to a clear set of rules, and then wash hands and send the client home. What you need to keep in mind is that John is an artist by trade, not a surgeon. He doesn't know in advance exactly how it will go, how many photos he'll shoot, or exactly what colors he'll use; the process is intuitive and depends on variables like the light and the mood. While there are certain things you can expect, not every aspect is predictable. 

By trying different poses and draping and by working with the natural light, John will gradually hone in on the shot or shots that seem to capture the subject handsomely and achieve the desired goals for the painting. 

2) The photoshoot takes some time.

Because, as we've noted, the process is a gradual one, it's best not to rush it. John will want some great pictures to work with at the end of the session. So he'll want to ensure that he's explored different options and that he's caught you from your best angle and you're looking and feeling comfortable. For this to happen, expect that two hours will fly by.
(We were a little pressed for time when we did the photoshoot for my portrait, but we enjoyed it nonetheless and got some good results!)

3) Sitting for your formal portrait painting is not intimidating. 

You don't have to be an experienced model (or anything closet to it) in order to do this! While having your portrait painted is a very exciting event and the result can be very formal, the process doesn't have to be. With John, you can expect a quiet studio atmosphere and his typical laid-back manner. Some drinks and snacks will be provided so you can stay comfortable while you hang out. You'll be encouraged to bring a friend along with you to help you feel at ease. For child portraits, one or both parents will be present throughout the session. Depending on my schedule, I'll be available as well as John's assistant in making you feel comfortable and look your best. 

Some tips for getting the most out of your portrait painting photoshoot: 
​

• Plan your wardrobe in advance. Choose 1-2 looks you really want. How will you want to be remembered in a piece that will likely remain in your family or institution for generations? In most cases, you'll want to select something classic and timeless, while also thinking about what makes you comfortable and is you. We are happy to consult with you about your choices in the weeks leading up to your session.
  
  

• Consider props. John can discuss if you have desires about certain items you want to incorporate into the portrait to add interest and tell your story. 
  ​
• Avoid self-consciousness with mental preparation. If you are afraid that you'll feel awkward or uncomfortable while sitting for your photo, prepare yourself with these thoughts: What will it mean to your loved ones, family, or institution to have a portrait of you? (Answer: a lot! You're doing this for them!) When you see a beautiful portrait of someone else, what do you think of them? (Answer: I'll bet it's never "that person is vain" or "that person looks ridiculous")
  If you're coming in to have your portrait done, there's probably a good reason that means a lot to someone or many people -- focus on that and you'll be fine! And remember, John is honored to paint your portrait. For every portrait patron who was ever painted in beautiful, classical style, there was an artist grateful for the work and the chance to use the skill he took years to develop!
  
  
• Set children up for success. Use your best parenting practices to get the best results with your kids: make sure they're well-rested (don't plan big, wearing activities on the days leading up to the shoot), well-fed, and that they know they'll be rewarded for good behavior. Definitely plan around nap times! 
  
  
• It sounds trite, but it really is important: have fun! We'll be there to enjoy it with you, so meet us with a good spirit. Give John some good outtake material! Try to crack him up behind the camera or have some stories to share! 
  Why? Because not only will the process be that much more enjoyable and memorable, but, importantly, because then your true soul will shine through the pictures and he'll catch you at your best! 

{Curious about the photoshoot of the little girl, above? See the finished product on John's portraiture page. }

{And if you can see yourself giving a portrait as a gift this Christmas, don't wait too long! The lead time from scheduling a sitting to receiving a finished painting is a matter of months!}

Usually we hear from parents who are interested in having a portrait of their child or children. I'm curious: if you could commission one portrait painting of someone in your life, who would you want it to be? Can you imagine where it would hang? 
​

A few years ago, John had a portrait commission that was a little different from other such jobs he's received: a mother, Mary, requesting a memorial painting of her recently deceased daughter who had suffered tremendously from a seizure disorder and other difficulties and disabilities in her short life of twenty-two years. John knew Courtney only through what he heard from her mother and from the photos Mary provided as source material. He did his best to capture this young lady, by talking with Mary and by keeping her closely engaged in the painting process with frequent updates of his work in progress. 

Recently, I had a chance to ask Mary a bit about that experience of working with John to have this portrait done. Below, she shares about what the process and the product meant and mean to her: 

Learn more about commissioning a portrait by visiting the Portraiture page, or by reaching out directly at contact@johnfolley.com.