By Michael Gormley
Ying-He Liu, "John McNeil," oil on canvas, 44 x 28 in.
The audience oohed and aahed as the drapery fell away from the three-quarter length portrait; they nodded approvingly at the artist Ying-He Liu and commented to each other that she had really “captured” him—him being John McNeil, the husband of Beverly McNeil, co-owner of Portraits, Inc. Indeed it was a breathtaking work; but I saw something more than the photographic likeness one has come to expect with portrait commissions. Though that bit of technical wizardry can certainly delight, exacting formalism and attentive perfectionism can feel a bit cold and inhuman—and miss the purpose of portraiture altogether which is meant to represent an actual person. This newly unveiled work had achieved that end—it offered a believable and lifelike presence.
Unlike likenesses achieved using visual cues and surface details (much like a photograph), this portrait’s uncanny verisimilitude exploits sensorial effects only achievable (by a select few) with oil on canvas. It artfully exudes a palatable warmth—much like the man himself. Even those unfamiliar with John McNeil would come to know him better—and not just by his recognizable physical attributes. A viewer would come to know the man by his character.
I applaud the artist for this masterful narrative and for exceeding the demands of a commission that could have been met with far less artistic struggle. It is indeed rare for a contemporary portrait of a man to transcend into a work of art. Given that the majority of male portraits are commissioned by corporations, or other formal governing entities, aesthetic choices are often arrived at through a committee structure seeking to please a wide audience. In this effort to appeal to all, realism becomes the ascendant goal—meaning the snapshot type that mimics the camera lens and results in paintings that often have a flat, freeze-frame look. We have all heard, “Wow, that painting looks just like a photograph,” delivered by viewers aiming to offer a sincere compliment.
This is unfortunate, largely because the populist barometer for judging a commission’s success—that the work “capture” a photographic record of the sitter’s features and/or body type—will matter little in the not too distant future once the sitter and his/her intimates are gone (to heaven or elsewhere). Then what does it matter if the mouth was not quite “right?” Wouldn’t a true legacy be better ensured with a painting, like Liu’s portrait of McNeil, which offers a true picture of the sitter’s character—such that all who view it will appreciate what it was like to know him truly and feel his presence as if he were actually there?
Maybe not; I imagine it takes a considerable measure of humility, dignity and grace to allow that brand of realism to be immortalized in a work of art—albeit rare human qualities at any time in history but exceedingly absent in this one. Luckily for us, Portraits, Inc. not only champions these qualities, it attracts the types of clients and artists that honor these abiding truths as well—the result being works of art that are timeless and will be cherished for generations to come.
Portraits, Inc. has been proud to represent Ying-He Liu for more than 28 years. For further information about the artist or to inquire about commissioning a portrait by Liu (or any Portrait Inc. artist), please e-mail us.
Michael Gormley is a painter, writer, curator and regular contributor to the Portraits, Inc. blog. Gormley is the former editor of American Artist magazine and most recently created the fine art catalog for Craftsy--an online education platform.
Portraits, Inc. was founded in 1942 in New York on Park Avenue. Over its 70-year history, Portraits, Inc. has carefully assembled a select group of the world’s foremost portrait artists offering a range of styles and prices. Recognized as the industry leader, Portraits, Inc. provides expert guidance for discerning clients interested in commissioning fine art portraits.