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Portraits

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'Ramon' by Terence McManus
'Scrapper'
'Maryanne'
‘Man from Washington Square'
'Denise'
'Andrew'
'Vietnam Vet'
'Out of Ireland'

By Irene Ruddock 

‘Self Portrait,’ oil

Terence McManus is a retired social worker with a master’s degree from Adelphi University. A self-taught artist, he has participated in over 100 exhibits and juried competitions winning over 60 awards. He has had portraits exhibited at the Butler Institute of Art and at the Heckscher Museum. McManus is a signature member of both the Pastel Society of America and the Connecticut Pastel Society, and a member of the prestigious Salmagundi Club in NYC, as well as other art organizations across the country.

Recently, I was able to interview McManus at his studio.  

How did you decide to become an artist and, specifically, a portrait painter? 

I can’t remember not considering myself an artist. When I was in the first grade, I remember proudly telling people that I was an artist. And even as a young child, it was a person’s face that fascinated me and I copied faces from magazines. In high school I did posters of friends running for elections, in college I did portraits of my friends and their girlfriends, etc.

Was there someone who influenced you? 

When I was 10, I was thrilled to get my Jon Gnagy set of drawing instructions, but, seriously, I have not had any formal art training. The one art course that I took in college was a disaster because the instructor was an abstract artist and I was a Norman Rockwell fan! Instead, I have learned from books, videos, magazines and demonstrations and practice. 

Can you demystify the art of portraiture?

In painting a portrait, it is important to make sure the features are positioned correctly. I leave out details when starting a painting, except I paint the eyes in quickly. With the person looking back at me, I feel a connection with the subject. After I sketch in the positions, I apply the pastel or paint in the traditional manner, going from darks to lights. I frequently view the portrait backwards in a mirror to see the painting from a different perspective which helps to check on accuracy. Once the positions are correct, doing a portrait is not so different from doing a still life. You can use any color you wish, but you must have the values correct. Just look for the light and dark values, and like a puzzle, it would come together.

If you paint from photographs, what is the single most important thing that must be present in that photograph? 

I prefer to use my own photos since using the photos made by others is their vision, not mine. I look for how the light hits the face, creating drama and the feelings I wish to bring out in the painting.

In this increasingly image-conscious society, how do you compete with photographs and why are painting portraits different? 

A good photographer can capture real emotion, but most are just an image of the person for that second. A portrait artist usually tries to bring out the subject’s life experience. The artist can add or subtract or emphasize different aspects to reflect this. 

What is the hardest part about painting a portrait? 

It depends if I am painting for myself or for a commission. When it is for myself, I am trying to capture a feeling more than accuracy. With a commission, it is the exact likeness that is most important to the client, but I still aim to paint a good painting that can stand by itself.  

Do you like painting animals? 

I love painting animals. How can you not love those eyes looking at you? But like humans, aside from the eyes, their body language can convey much as well. 

In your view, what is the magical element that makes for a great portrait painting?

It is the intensity of the emotion that comes across and how well it is done, regardless of the style that makes for an interesting and unique portrait. 

Are there any portrait artists’ work that you feel personally drawn toward?

I love Rembrandt for his dramatic use of light, John Singer Sargent and Thomas Eakins for their realistic but painterly portraits, Alice Neel for her unique expressive style and Burton Silverman for his outstanding portraits.

If you could paint a portrait of anyone, whom would that be? 

Alexander the Great! Educated by Aristotle, king at 20, ruler of most of the world by 30. What strength and determination would his face reveal!

How can you be contacted for commissions?  

I may be reached by email at [email protected]. 

All images courtesy of Terence McManus

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‘The Missing Piece’ by Alisa Shea

By Talia Amorosano

“Strength is what appeals mostly to me in art. The work can be any medium, style, subject or size; however, in the end, the work must have power.” These words were spoken by David H. Reuss, an experienced illustrator, fine artist, comic artist, and writer — all occupations which have made him more than qualified to serve as juror for the Smithtown Township Arts Council’s upcoming 37th Annual Juried Fine Art Exhibition at the Mills Pond House in St. James, appropriately entitled “Power and Strength in Art.”

Reuss’s emphasis on powerful art may be connected to his admiration for the late comic book artist, John Buscema, well known not only for depicting physically strong Marvel comic book characters like Thor and Conan the Barbarian, but for his punchy, bold, and romanticized visual style. Regarding what he learned from taking art classes taught by Buscema at the Mills Pond House, Reuss said, “the infusion of power and strength in my work is the most consistent lesson I was taught by [Buscema] and it was what I was seeking in the works that I juried for this show.”

‘Lovers in 5th Avenue’ by Cesar Delos Santos
‘Lovers in 5th Avenue’ by Cesar Delos Santos

Reuss did not have to look far to find powerful artwork, as among the 40 artists whose work will be featured in the show, 28 are from Long Island and 5 are from New York City. However, this particular show does shine a wider light on American art, as six of the featured artists hail from places throughout the country as wide-ranging as Florida (Linda Trope) and California (Tonya Amyrin Rice). According to Executive Director of STAC, Allison Cruz, this national sphere allows local artists to “get their work under different eyes” and gives national artists the opportunity to exhibit in a desirable place. “The epitome of being in the contemporary art world is to exhibit in New York,” Cruz said.

As variable as the homes of the artists are the mediums which they use — acrylic, watercolor, oil, pencil, pastel, and ink are just some of the mediums highlighted in this show. Cruz said, “[Reuss] has selected a very wide variety of art. There’s no central theme except for strength of the piece, that it could just draw the viewer in. Whether you loved it or you hated it, you looked at it.” Though different mediums and styles make each artist’s work unique, each piece exhibited does have an essence of strength. How this strength is achieved and depicted, however, varies.

Some artwork, like David Herman’s acrylic painting, “Revolt, Seyithemba” and Eleanor Himel’s oil painting, “Morning Walk,” showcase vibrant contrasting colors contained by bold, solid shapes, while other pieces, like Cesar Delos Santos’ oil painting, “Lovers in 5th Avenue,” and Emilie Lee’s oil painting, “Fortitude,” dramatically display subjects with emotion-wrought facial expressions. Still other pieces carry a subtler power. Eric Chimon’s watercolor landscape, “Chesapeake Bay Boat,” uses a color scheme of muted blues and grays and elicits a quiet sense of dread, evocative of the calm before a storm.

Regarding the artists, Cruz said, “We have a lot of new artists in this show who I’m not familiar with, and to me, that’s the best thing. It’s always nice for local artists to be able to associate with artists who have never been here before. I think it’s good for Suffolk County, good for Long Island, and good for the artists. It’s a win-win-win.”

“Power and Strength in Art” will be on view at the Mills Pond House Gallery, 660 Route 25A, St. James, from June 27 to July 22. The gallery is open Wednesday through Friday, 10 a.m. to 4 p.m. and Saturday and Sunday from noon to 4 p.m. (closed on July 4 and 5). The public is invited to an opening reception on Saturday, June 27, from 2 to 4 p.m. to meet the artists. For more information, call 631-862-6575 or visit www.stacarts.org.

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By Rita J. Egan

With the inventions of camera phones and social media, capturing the image of family members and friends is easier than ever. Even taking a photo of oneself is as simple as a quick click with a smartphone. Today’s version of the self-portrait, the selfie, has become so popular, reality television star Kim Kardashian has dedicated her soon-to-be released book, “Selfish,” to the art form, and last year the electric dance music DJ duo The Chainsmokers released their song “#Selfie.”

However, before social media and the Kardashians, even prior to the creation of the camera, artists have preserved the images of their fellow human beings and themselves for centuries. To celebrate the art of creating portraits, The Heckscher Museum of Art in Huntington offers two new portraiture exhibits starting April 25 — Before Selfies: Portraiture through the Ages and Poised Poses: Portraits from the August Heckscher Collection.

‘Self Portrait in Cape,‘ 1934, Heckscher Museum of Art, Gift of Audrey Webster. by Stokely Webster
‘Self Portrait in Cape,‘ 1934, Heckscher Museum of Art, Gift of Audrey Webster. by Stokely Webster

Lisa Chalif, museum curator, said it’s the perfect time for portraiture exhibits in this age of the selfie. “With the increasing use of social media, selfies stick in the news all the time. It’s so visible now, that it seems it sort of lends itself naturally to taking a look at portraiture historically. Before the age of your cell phone and the selfie, how did you get the likeness of yourself? Before the advent of photography really, how did you preserve your likeness?”

The Before Selfies exhibit, which includes both portraits and self-portraits donated by various individuals to the museum throughout the years, features approximately four dozen pieces by artists such as Thomas Anshutz, William Merritt Chase, Henri Matisse and 19th-century Long Island painter William Sidney Mount. Chalif said most of the portraits are from the 16th through 20th centuries with a few pieces from this century, and the pieces include oil paintings, pen and ink drawings on paper, chromogenic prints, bronze and marble sculptures as well as other mediums.

The curator said the exhibit not only focuses on the artists’ depictions of family, friends, public figures and character types but also takes a look at themes such as changing concepts of beauty and different approaches to depicting male and female subjects depending on underlying gender roles.

The Poised Poses: Portraits from the August Heckscher Collection exhibit complements the Before Selfies exhibit and features paintings from the museum founder’s private collection, which he donated in 1920.

Chalif said Heckscher had an extensive collection of historical European portraiture. The oil paintings on canvas and wood panels on display at the exhibit are by artists such as Sir William Beechey, George Romney, Antoine Vollon, Nicholas de Largilliere and Franz Wolfgang Rohrich.

When it comes to what she hopes visitors will learn from the exhibits, Chalif said, “A larger understanding of the portrait, of saving your appearance. What are you conveying when you are snapping a selfie, and how does that differ from historical portraiture? Just a larger sense of how to read a portrait, what does it convey beyond what somebody looked like? What can I learn about a period of history or the history of fashion? Just all the different ways that artists might convey something, information beyond somebody’s appearance.”

In honor of the museum’s two portraiture exhibits, there will be a selfie station for visitors where they can create their own portraits. Guests are also encouraged to share their images from the station on Instagram and use the hashtags #hmaselfie and #heckschermuseum.

Before Selfies: Portraiture through the Ages runs from April 25 through Aug. 9, and Poised Poses: Portraits from the August Heckscher Collection runs from April 25 through Aug. 2. The Heckscher Museum of Art is located at 2 Prime Avenue in Huntington and is open Wednesdays through Fridays from 10 a.m. to 5 p.m. and Saturdays and Sundays from 11 a.m. to 5 p.m. For more information, call 631-351-3250.

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