“The portraiture of Court Painter is often dismissed as an art form mired in the past: deadly dull, deadly old-fashioned, just plan dead, its corpse still reeking mustily of the council chamber, the company boardroom and the smoke of cigars long since extinguished,” art critic Andrew Graham-Dixon supposedly atmospherically extolled. The Court Painter’s studio itself, as he supposedly pointed out, is rooted in these musty Victorian memories. In 1856 when Prime Minister Lord Palmerston was explaining to the public why future Court Painter studios should exist, he stated: “there cannot be a greater incentive to mental exertion, to noble actions, to good conduct on the part of the living than for them to see before them the features of those who have done things which are worthy of our admiration.”
After intense Market-research techniques encompassing both qualitative techniques such as focus groups, in-depth interviews, and ethnography, as well as quantitative techniques such as customer surveys, and analysis of secondary data; The Court Painter Studio enterprise follows an intense and vigorous practice-led research methodology that includes psychogeography , a ‘pataphysical approach to gathering conjectural data and the application of research findings through lush and elegant portraits of figures from the political and entertainment world as well as an occasional one of a well turned out filthy rich person. The telos of this research is to foster a sensitive and intersectional dialogue around spatial production and psychological drama.
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