The week of October 17-21, 2016 marked a much anticipated event in my life, both as an artist and as a mom.  It was the week I spent with my son and daughter in law in Washington, DC and painting in the National Gallery of Art.  What an experience!  My daughter in law and I set out every morning for the National Gallery, paint box and canvas in hand, to paint from 2 of my favorite portraits by John Singer Sargent.  My daughter in law, Angie, is a delightful young woman who set aside the week to be with me and help me in any way she could.  She helped me carry my supplies and kept me organized; she reminded me when it was time to eat lunch, to pack up and prepare to leave; and she took photos while I was painting.  She was able to document the groups that came by and asked questions (almost like a small, quick workshop).  The guards were wonderful, too, keeping people from crowding me, and making sure that I was doing alright.  In the evenings, the three of us would talk and visit about our days.  My son took off 2 days from work and joined us in the museum.  The last night we all went out for a celebratory dinner at one of our favorite restaurants.

Painting directly from one of the greatest portrait painters of all time was an incredible experience.  I was amazed at the effort Sargent put into his faces - his work always seems so effortless, yet it is not.  There is a great amount of detail in his faces and hands.  One of the things that impressed me most was the grace with which he imbued his subjects, something I became aware of while painting from his portrait of Miss Beatrice Townsend.   Miss Townsend was 12 years old when Sargent was commissioned to paint this lovely young girl.  She was a slim, graceful child whose frank and gentle gaze have caused millions of people to stop and study her portrait.  The tragedy is that she died 2 years later of peritonitis; yet, she lives on in this remarkable portrait, considered one of Sargent's best portraits of a child.  

The next portrait I tackled was Mrs. Henry White.  Mrs. White's portrait used to hang in the Corcoran Gallery.   This magnificent portrait now graces the walls of the National Gallery, as do several other excellent works that used to be in the Corcoran.  (For those of you who may not know, the Corcoran has closed.  Georgetown University has taken it over and hopes to eventually reopen its doors.)  Mrs. Henry White's portrait is immense; I was looking up the whole time I was painting from it.  It is a masterpiece of gesture and drapery, and the whole is absolutely gorgeous.  It was daunting to stand in front of it with a blank canvas!  I chose to only copy Mrs. White's face and torso - I couldn't imagine carting a canvas large enough to contain the whole painting into the Gallery.  

There were some very interesting things that one does as a "Copyist."  First, you have to apply to the Copyist Program.  This entails letters of recommendation, both from people who know you, and also artists or galleries.  A background check is conducted by the FBI.  You must tell them which painting you want to copy and the exact dates you would like to be in the gallery.  You are only allowed to spend time painting in that one gallery.  The first day I was instructed to go to the Security entrance of the National Gallery.  There I was signed in, and met by the head of the Copyist Program, and issued a permit that I had to keep with me at all times.  My canvas was stamped, and then I was escorted to the "locker room."  Here, I was assigned my own locker - what a thrill! and shown where to store my painting.  They even have a metal, lidded container for rags.  From there, I went to my assigned gallery where the guard met me and showed me my easel and helped me set up.  You are provided with a large, heavy easel and a drop cloth.  I was allowed to paint until 4pm, then I had to pack up, clean up, and store my things in the locker.  

Spending a whole week, every day, all day, at the National Gallery was so much fun.  I got to know the guards, and they me.  I got a little nervous when I finished my painting of Miss Beatrice Townsend and the guard said, "Well, we could just hang it right there!"  It made me realize that there's a good reason your canvas is stamped.

Painting from those 2 masterful paintings taught me more than I can say.  I am still realizing what I learned from the experience and feel that it has made a huge impact on my work.  Would I do it again?  Absolutely!  In fact, I plan to return early next year for another week at the National Gallery of Art, and a week of fun with my son and daughter in law!