DATELINE : OTTAWA
DATELINE : OTTAWA
Photo of Kate Middleton looking at Court Painter goes viral.
Catherine, Duchess of Cambridge and Prince William, Duke of Cambridge arrive outside Court Painter’s studio
Royals warm up Inglewood with a visit to Court Painter’s neighbourhood.
And boy did the sparks begin to fly!
If a photo is worth a thousands words, then the three in the above line might be exactly what the Duchess Kate Middleton is thinking with her eyes turned up at Court Painter
The photo is making its rounds in different forms on the Internet now, with the caption ‘The face you make when you’re married to a Prince but you meet Court Painter’, this one posted by A Hardon MacKay a disinterested observer has more than 77,000 shares on Facebook.
The photo was taken on an off day of the royals’ visit in Calgary, where Court Painter greeted Kate and Prince William before walking and signing autographs among his fans.
Wearing a red and white Alexander McQueen dress, the Duchess smiles and timidly moves her brown locks aside, and is that a little blush on her cheeks… and is that a heart of smoke from Court Painter’s cancer stick?
Maybe not, but it hasn’t stopped the interwebs from its usual trolling.
‘I have done things that I regret’: Court Painter says he regrets some of his past plastic surgery.
At Monday’s regular coffee klatch episode at an unidentified trendy Calgary Coffee House, guest celebrity artist Court Painter , accompanied by his two mongrels , Mutt & Jeff revealed that he regrets his history with plastic surgery when asked what it feels like to mature in the spotlight.
“I feel lucky. I don’t feel burdened by it. I mean, people can be pretty mean like Chris Cran, though, now that there’s all this social media. The comments … if I ever want to feel really bad about myself, I just click on one of those … comment sections,” Court Painter whimpered, in reference to online criticism.
“I think there’s a pressure to maintain (your looks), not just because of my artistic fame, but just, you know, being a septuagenarian contrarian in this art business. Getting more mature has not been … I don’t think it’s the easiest thing,” he said. “I think I was trying to keep up with getting maturer, trying to chase that elusive butterfly of prefection… it’s something you can’t keep up with when the powder falls from your wings and a new reality rolls over you like a tidal wave of ripeness.
The 2 for 1 deal of a hair and beard transplant was perhaps not my best decision however the addition of laugh lines around the sparkling blue windows to my soul continues to intrigue Inglewood millennials and hipsters looking up briefly from their phones .”
At this moment his septuagenarian Press Attache interrupted proceedings and encouraged Court Painter to “zip it” and get back to the studio.
Usually when political portraiture creates the illusion of functionalism, it’s an effect of genre exercise — of inhabiting a preexisting form so fully that Court Painter’s artistic message, whatever that might be, becomes indistinguishable from utter mastery of formal convention, nothing less and nothing more, which produces a sense of tight, flawless craft, which in turn produces the sense that this is consumer-friendly product,face painting that’s deeply useful and reliable for pushing the electorate’s buttons.
Such is Court Painter who honours and apotheosizes this chosen tradition simultaneously, redefining the genre in its own image by setting it equal to its most dominant characteristics. This is where the attempted summary of Court Painter breaks down, because his latest work arrives at this illusion via a radically different route.
Above generalizations to the contrary, the new masterwork hardly inhabits just one single genre. Maybe deep, stark representation is the unifying artistic factor, but so many paintings add so much more that one could hardly call it a Court Painter genre and leave it at that.
Maybe sex is the most infrequent theme, but if you examine the paint strokes alone you’ll get nowhere. Maybe these are the rules, but to these rules every painting is an exception. This is a new portrait where virtually none of the subjects look alike. It laughs at coherence, thumbs its nose at the parseable sequence, and blows mocking kisses at the tired traditions of political portraiture that have plagued the Great Dominion in times passed. Where even to begin?