Once asked to define "portrait," virtuoso society painter John Singer Sargent replied, rather sardonically, "a portrait is a painting in which there is always something wrong about the mouth." But suppose there were nothing at all wrong about the mouth. I wonder sometimes if a painter who dextrously manages to capture a likeness, whole and convincingly, regards this happy entrapment – this pinning of a human butterfly to the wheel of a painting – as deeply satisfying. Or as just something to be expected. Is the portraitist as surprised by verisimilitude as anyone else? Frankly, I doubt very much that Winnipegborn, Toronto-based painter Carole Freeman has much doubt about the accurate and persuasive way she manages to capture likeness. Indeed, her remarkable facility in that regard, many years in development, is now winning her kudos and commissions at home and internationally. Given her solid, bedrock skills and high representational (one hardly dare say "oldfashioned") abilities, it is both surprising and absorbing to discover a perhaps unlooked for aspect of Freeman’s practice. That being her unabashed romancing of the dizzying, highspeed world of social media.
left (small) top, previous spread, Demoiselles (Series: The Green Couch), left (large), Her (Series: Dear Art World), Artist Holding Picture of Artist, Father (Series: Portraits of Facebook), left (small) bottom, The Connoisseur (Series: Dear Art World), right, Axe (Series: Dear Art World),
acrylic on linen, 52" x 64" graphite and acrylic on mylar, 72" x 42" graphite and acrylic on mylar, 7.5" x 7.5" on 8.5" x 11" graphite and acrylic on mylar, 7" x 6.25" on 8.5" x 11" graphite and acrylic on archival paper, 60" x 40"