Jeanne is so elegant, I set her in her London home with these magnificent reds surrounding her. There is a portrait of Richard III in the National Portrait Gallery by an unknown artist that uses red and black in this way – and I love it – it’s so rich and brave. Jeanne can really carry it off.
Will Riccio
Will is very relaxed and he leaned like this as we talked, it was so him I wanted to keep the area around his head clear and used brickwork in orangey browns to contrast with the blue of his jumper and to tone with his face. By drawing the bricks going into a corner behind his head the mortar lines lead us into his face which emphasises it’s importance.
Charles Dance
Charles and I made a short test film for a TV program that involved me painting this portrait. It was really fun to do.
Half way through the painting I changed the background from blue to red, it really works, It gives him a gravitas that suits him.
A very lovely, gentle portrait of a very lovely, gentle man. I set this portrait in Robin’s Oxfordshire home surrounded by things that pertain to him. The yellowy tones in the creamy white walls, the table and the gold candle stick set off the contrasting red and blue that make up the purple of his shirt. it’s subtle and effective. I often like to put strong red in somewhere and his Persian carpet did this beautifully for me.
Olivia Williams
A lovely time in Olivia’s live to paint her. She’s just at that brief stage where both the freshness and the simplicity of her childhood is combining with the adventure of young adulthood. With so much yet to come. I think she will be so glad that we caught this time in her life.
Shane Warne
I was commissioned to paint Shane Warne by the Marylebone Cricket Club for the Long Room at Lord’s. An amazing commission it gave me my fifteen minutes of fame.
I knew exactly how I wanted to paint Shane; I had heard of his fearsome reputation as a spin bowler with the batsmen never able to judge the trajectory of his ball. So I set the portrait in full noon-day sun which made his eyes shadowed and quite menacing and we can just glimpse in them that he has a cunning plan. I set him slightly to the left which gives the viewer the feeling that he is actually moving toward us. And the red ball with it’s powerful shadow is absolutely hero right next to his face.
He was actually a very sweet and gentle man. He was held up at the gate to at my studio complex when he came for a portrait sitting because he was suddenly surrounded by every cricket enthusiast within a half mile radius. I found him thirty minutes later still at the gate, generously signing autographs and chatting to everyone.
Marcelle and Sally
These little girls are very sweet; However I really didn’t want to make a cute portrait. The vibrant and beautiful contrasting colours turquoise and fuchsia, with such a strong diagonal shape gave me the vitality I wanted.
Sam Rush
Sam is my brother — This portrait shows Sam exactly as we all know him -just about to say something very funny. It’s great to have in the family. I painted it as a present for our father Peter Rush, and when he died it went to our mother’s home. Sam and his family will eventually have it. He will probably be so elderly that he will appreciate this reminder of how handsome he has been.
John Studzinski
John is a very formal man but I wanted to portray the softness that I could sense. It is there in his eyes and I took it into the folds in his shirt and kept the colours soft and peaceful by using just two, coral and grey.
Elizabeth Philion
I love getting the textures in my painting exactly right, linen folds and creases exactly as linen does, silk reflecting light and fur absorbing it.
It’s important to surround a subject with the fabrics they use, it’s a big part of their personality – and I love the challenge.
Ian
What can I say? this is exactly like him.
Sunil Mittal
This is a powerful portrait of a powerful man, it’s almost mono-chrome which keeps it sharp. The open and relaxed way that he is he sitting and the silver jars behind him gave me a strong diagonal shape. These aspects when combined like this exude the confidence and strength that I was looking for.
Kevin Ching
Kevin was my first Hong Kong Commission. Kevin is the Chief Executive of Sotheby’s Asia and this portrait opened up Asia for me, and I love it. I call this portrait ‘Kevin Ching and His Magnificent Arm’.
Isaac, Charles and Raphael
I didn’t want any one boy to dominate. I sat the little one, Raphael in the foreground, Charles in the middle, leaning backwards and Isaac at the top leaning forward, so that all of their faces are exactly the same size.
It is also a painting of three’s, Three boys, and two triangles, one made by the boy’s faces and one by their bodies and the stair post.
This painting is huge — it’s the size of a door.
Dr Prathap Reddy
I met Dr Reddy at his home in Chennai. He greeted me and sat down on his sofa, and there it was — a perfect composition. Orange and black unusual and dynamic together are working brilliantly here.
Richard Jordan
I love contrasts not only in colour, shape, light but also in ideas. As Rick is informal I think it works to have him in this fairly classical pose.
Ben Lucas
I really like these portraits of just the head and shoulders. They are both powerful and intimate.
Ajit Gulabchand
Ajit is a wise man, which I think you can see. He exudes confidence and strength in this position and yet it is entirely him. I included a nod to India in the paisley upholstery of the chair.
Edward Frazer
This is my second portrait of Ed, the first was fifteen years ago. I’m glad to see that I’m braver in my work now. Blue and white stripes combined with red and gold flowers would not have occurred to me then. I love them together here and I think it works beautifully.
Curtis Bashaw
Curtis’s arm makes a strong diagonal across the portrait, which is really powerful. Almost unnoticed, his shadow gives the portrait real depth.
US Ambassador Robert Tuttle
This portrait hangs at the U.S. Embassy in London, a wonderful and important commission. It had to have a fairly formal pose. I livened it up by using colours that ‘zing’ together — the yellow chair took some courage, and it has worked brilliantly.
Cherry and Frank
The gentle way that Frank has placed his hands on Cherry’s arms says it all. I really like the way the blocks of red, green and purple are working together here.
Sir William Castell
Sir William was the Chairman of the Wellcome Trust and it was a huge honour to be asked to paint his portrait for them. They wanted something of the Wellcome Trust to be included in the portrait, but I didn’t want to add any props. Their logo fitted the space well and by using slightly different tones of the same blue I was able to incorporate it so that it actually contributes to the strength of the portrait.
“In the portraits Fanny pulls something extraordinary out of her subjects. And in the quiet portraits, her subjects pull something extraordinary out of her.”
The Portraits
I have been given the gift of perceptual insightfulness – an intrinsic sensitivity that enables me to understand who my subject truly is, and to portray real communication from the eyes of the portrait to the viewer. The anatomy of the muscles in a face form the expression we see and I envisage what is happening under the skin as I paint, this gives me a spot-on likeness and the subliminal result makes portraits feel alive. And not just in the face, a huge part of a recognisable personality is in the way that people hold themselves. I simply watch my subjects to see what they do naturally, think how to use it, and then I paint it.
The Great painters, primarily Rembrandt, Goya and Titian have taught me how to paint. I have been on a quest to discover their painting methods from their own writings, which sit elusively in big, old, dusty books. I particularly love the vision and the use of light by the artists William Nicholson, Hammershøi and the photographer Cartier-Bresson. Living in London I am so lucky, this great work is on my doorstep in the big national galleries and I can scrutinise it endlessly.
Visit the Studio
Portraits and quiet portraits of you or your loved ones make very special presents.
The Studio is very near the American Embassy in Nine Elms, London. Please contact me and come and visit, have a cup of tea and see what’s on the easel.