Fine Art Commissions have provided me with a greater opportunity to just get on with the painting. I am looking for ways to innovate and improve my methods of working a successful portrait, and provide a unique experience for the client. Therefore all the support and added time in the studio is invaluable.
Luke Francis Haseler
Luke trained in the Florentine tradition at the London Atelier of Representational Art, before taking up a residency in Warsaw, where he was tutored by the artist Francziszek Starowieyski. Returning to London in 2013, he co-founded the art collective Vermilion Hook, that went on to curate three independent exhibitions in Central London.
It was at one of these shows that he was introduced to two of London’s most respected tailors, Richard Anderson (formerly of Huntsman & Sons) and the infamous Mark Powell of Soho (pictured above), both of whom went on to commission Luke …
The worlds of bespoke tailoring and classic portraiture share so many of the same qualities; these gentlemen are ‘masters of their trade’ and as such have been an inspiration, creating a powerful benchmark for my own practice.
It is this attention to detail and love of his craft that sets Luke apart, as he continues to build his reputation as a master of his own art.
Notable commissions include the Arber Family, (pictured below). The brief was to capture the family at home in England for the walls of their newly-built villa in Tuscany, for the father whilst they were away. Luke developed the preparatory work in England and was then sent to paint on location.
The idea of bringing them in from different rooms, so that the picture was composed of independant moments, was intended in order to keep the intimacy of a family together, whilst challenging the composition to tell other stories, and amplify bonds within. For instance, the portrait of the mother and daughter becomes its own, and the youngest child's dependency is quite clear, whilst the eldest at eighteen years of age is looking into the picture, about to leave home out onto his future.
I was not confined to singular perspective, and with this being a triptych, it gave me a new freedom to work the image like a puzzle and push the balance between traditional modes and contemporary solutions.