Taste

[Marvin Mattelson]

As a portrait painters we have to work within certain limitations. If you can rise above these inherent restrictions, then you may find on your easel a portrait like Sargent's Lady Agnew or Rembrandt's Herman Doomer.

If you choose to be restricted, then you create portraits steeped in mediocrity. That's what separates the geniuses from the wannabes.

In terms of what wins awards, you have to factor in the hidden agendas of the judges. Half are trying to justify either what they themselves do or their ideal of what ART should look like, while the other half want to keep out anything that competes with their standing in the portraiture pantheon and protect their butts.

If any of them judged with the intention of rewarding excellent examples of portraiture then you'd see beautiful examples of commercial portraits and no dichotomy between fine arty and commercial portraiture.

Lastly, everyone has their own opinion about the wrong and right way to do everything. If you take offense with those who don't share your opinions you're gonna walk around with a big chip on your shoulder trying to justify your position.

Aldo is entitled to think whatever he likes about my paintings. He's not going to be commissioning me (or anyone else) to paint a portrait, so he can think whatever he wants.

I have been fortunate enough to find a number of people who actually like what I do and therefore they put their money where their mouths are. These are the opinions that I regard with the utmost respect.