Meet one of the 21st century’s most gifted classical painters, London based Phoebe Dickinson. The 34 year old artist is turning heads with her quintessentially timeless portraits, which evoke a feeling of Gilded Age nostalgia. Probably best known in the United Kingdom, the artist has been heralded for her painting of Carson from Lord Julian Fellowes’ hit series Downton Abbey, as well as for her painting of the Cholmondeley children at Houghton Hall, which was selected for the 2018 BP Portrait Award exhibition at the National Portrait Gallery in London. Phoebe’s training includes stints at Charles H Cecil Studios in Florence as well as the London Fine Arts School. Since the days of John Singer Sargent, the world has seen few truly gifted artists with an affinity for classic portraiture, however we feel that Phoebe’s brush certainly revives an art form which is too often underappreciated in our fast paced world. We were given the privilege to catch up with Phoebe just ahead of her exhibition at the Royal Society of Portrait Painters.
Tell us about how you first became interested in art, and what initially attracted you to portraits, still lifes, and landscapes?
“My father is an art dealer and because of this I grew up in a house hung floor to ceiling with paintings. As children we were constantly taken around galleries and told interesting stories about the artists and their subjects. I think since my father is an old masters art dealer I became more interested in representational art and that is [what] drew me to a traditional training and then on to painting portraits and still life. The love of landscape painting came later for me and I enjoy it so much because it allows much more freedom than portraits and still life and gets me out of the studio and in to nature.”
Who are some historic artists that you look up to for inspiration?
“For portraits my go to reference is always John Singer Sargent. For still life, I love William Nicholson and for landscapes I’ll look at Corot.”
In a few words how would you personally describe your work?
“Classic and representational, but with a contemporary touch.”
You’ve just been selected for this years Royal Society of Portrait Painters Exhibition. With that said, what do you believe makes a truly remarkable portrait?
“For me the most important thing is what makes a beautiful painting and one that is interesting whether you know the sitter or not. In the perfect world I also think the setting should add interest.”
Do you have a special routine to get your creative process started?
“Not really….I actually think its quite important to be flexible and be able to adapt to any environment. The only routine I have is in what I listen to in my studio whilst I paint. In the late afternoons if I am lagging sometimes I put on dance music to keep me going.”
What do you feel are the greatest challenges of being a portrait painter today?
“People don’t have the time on their hands that they would have had 100 years ago, so getting people to sit is harder. Studios with North light in central London are very expensive and hard to come by now and they all get developed into swanky flats, which is a shame. I also think our typical everyday clothing is not nearly as glamorous or beautiful to paint.”
Take us through a day in the life of Phoebe Dickinson.
“A typical winter day starts with stories in bed with my 2 year old and husband followed by breakfast and maybe a few e mails. I then go up to my studio and paint until lunch time when I take a break to eat with my daughter and au pair. After lunch I usually go straight back to painting and if I do have any meetings I always try my best to arrange them for the late afternoons when the light starts to fade and my energy is waning. Towards the end of my day I do more admin and then I do bath and bedtime with my daughter while my husband cooks something delicious for our dinner. In the spring and summer we travel a lot more and my day would be pretty different and involve walking or driving to find beautiful landscaping spots or picking flowers from my mother’s garden to paint.”
Tell us more about your upcoming painting course at Villa Cetinale?
“Villa Cetinale is a 17th century Italian villa renowned for both its beautiful architecture and gardens. I feel so lucky to be able to teach there. The course is primarily a plein air landscape course, although there is the option of doing still life or interior paintings. There is a day in the middle of the course for people to explore the surrounding towns of Sienna and Florence if they wish and there are masses of amazing activities for non-painting partners. It really is the ultimate luxury to stay at Villa Cetinale and have a glorious day of painting peppered by delicious meals with the incredible local produce and Italian wine and 5 star service. The October 2019 course is now fully booked, but we plan to do two more weeks in spring 2020.”
What is the most important item in your studio?
“My paintbrushes without a doubt. I could get away with using bad quality paints, canvas and easel, but the paintbrushes are incredibly important. Other than that….my father gave me a very special little pallet in the shape of a fish, which he bought at auction and was said to have been carved and used by Joshua Reynolds as a boy.”
Of all the commissions that you have completed, which has been the most challenging?
“I recently painted ‘The Bamford grandchildren at Daylesford House.’ It is the biggest canvas I have ever painted and I could only just get it in to my house. It was too big to get in to my studio and the painting consisted of 7 figures and complicated architectural details. On top of all that I had terrible morning sickness throughout painting it and so it was incredibly challenging, but I was really pleased with the end result.”
If you were remembered for just one piece of your work, which piece would it be and why?
“I think at the moment it would be my painting of the Cholmondeley children at Houghton Hall because it is currently hanging in the National portrait gallery of Scotland after touring the UK as part of the BP portrait award exhibition. The painting is of three very attractive children in what has to be one of the most outstanding rooms in the world. I think this is the painting I have done that sticks in peoples’ minds the most, but I am excited to see the reactions to the painting of the childrens’ mother ‘Rose at Houghton’ which is going to be in the Royal Society of Portrait Painters Exhibition. This is in fact my favourite of my paintings and I hope people like it as much as they seemed to like the Cholmondeley children.”
Where to next?
“I’m staying put for the time being because I’m about to have a baby, but this summer we have plans for painting travels in Italy and Spain and then of course we will be off to Villa Cetinale in the autumn.”
Where can we follow you?
“You can see regular updates from me on my instagram: [@phoebedickinsonart]. And if you sign up to my newsletter through my website (www.phoebedickinson.com) you get news of future exhibitions, recent work and teaching workshops.”
Featured Image Photo Credit: Alex Lloyd
