Francis K. Fong's "Self Portrait by the Bay, Annapolis," 2003, a Painting Lesson after van Gogh for Exacting Likenesses in Portraits

A method after van Gogh for painting likenesses

The painting, "Self Portrait of Francis K. Fong by the Bay, Annapolis," is important in that, after completing it, the author Francis K. Fong moves in directions away from complete dominance under van Gogh's influence.

In this work, the author followed van Goah's procedure for drawing the subject before painting him.  Also, he adopted van Gogh's method for exacting likeness, complete with the patterned strokes for shading, in drawings and paintings, and in the latter by use of different primary and secondary colors.  In addition, although it's not clear if van Gogh used the practice, the author would first sketch out his likeness with pencil and, then, paint over this black and white drawing. 

Members of the Roulin family were favorite subjects for van Gogh's portraits.  In an earlier article,
Fong discussed his development in new directions as a portraitist after a comparative study of van Gogh's paintings of the baby Marcelle Roulin.  Here, this article focuses on van Gogh's 1888 painting of "Postman Joseph Roulin in a Cane Chair, Three-Quarter-Length" after his drawing of "Joseph Roulin, Head."

Joseph Rolin, a detail of "Joseph Roulin, Sitting in a Cane Chair, Three-Quarter-
Length," 1888, oil on canvas 32 x 25 3/4", Museum of Fine Arts, Boston

"Joseph Rouling, Head," 1888, reed quill pens and brown ink and black
chalk, 12 3/8" 9 5/8", The J. Paul Getty Museum, Los Angeles

In 2003, Fong drew a "Self Portrait of Francis, Head," before fashioning after this drawing the painting in oil, "Self Portrait by the Bay, Annapolis."  The procedure for achieving the likeness in full color, which the author thought was a newly minted practice for no reason other than he had not seen other artists use it, is rather straightforward. 

"Self Portrait of Francis, Head" 2003, pencil on paper

The drawing was first compared with a photograph to make sure the likeness is satisfactory.  The original photo used in the comparison is not to be found.  So, here, Fong uses a photo of the author taken on February 19, 2011, by his granddaughter Sophia Sandholm, age 4. 

"Farfar (Grandfather) Working on His Laptop," 2011, Sophia Sandholm, Age 4

Fong then transferred (copied) the pencil drawing onto a blank canvas, and painted over this drawing - much like a child's filling in the colors in a coloring drawing book.  The likeness is readily captured in the resulting portrait in oil.  To complete the "Self Portrait of Francis K. Fong by the Bay, Annapolis," he then added a starry night over the bay at Annapolis, MD.  The oranges in the face set off the blues and purples of the night skies.  The yellow highlights in the face bring out the three-dimensionality of the sculptured features. 

"Self Portrait, A Warm Evening in Annapolis," 2003, oil on canvas, 18" x 20"

The occasion shown in this self portrait was a stroll by Fong and his wife, Margareta, and their youngest son, Peter, by the Annapolis Bay after a dinner celebration of Margareta's 60th birthday.

Unbeknownst to him at the time he developed the method of painting over a black and white likeness, the procedure was apparently practiced by ancient masters.  One example is given below.

Madonna and Child, 1487, Pilippino Lippi (Metropolitan Museum, NYC)

In the fall of 2010, Filippino Lippi's 1487 masterpiece, Madonna and Child, (Metropolitan Museum) was taken to conservation for examination and treatment.  Characteristic of the exquisite work of this artist - the son of painter Fra Filippo Lippi and the pupil-assistant of Botticelli - is the way the rich palette set off the delicately described features of the Madonna, shown as a young mother tenderly holding her curious infant. 

Black and white drawing under filipino's Madonna and Child

Examination of the picture with infrared reflectography reveals hidden details about its creation.  Brush with ink was used to draw the basic details of the figures, arrange the composition, and establish deep shadows and dark passages. The contours of Mary's facial features probably follow a cartoon the artist employed repeatedly in his workshop. When it came time to paint Mary, Filippino adjusted the angle of the head, bending it slightly closer toward the infant.