“Portraits are made from the interaction of time spent in sittings, of the organic and unposed slow-time that is the natural pace of painting. The final portrait, which is a tactile, tangible thing is the result of these un-curated humans interactions."

Process of Painting

I don’t tend to do preparatory sketches prior to the painting starting. I will always find small things to adapt and change as we progress through the rough early stages. I prefer to build the painting up through a gradual process of layering, so in a sense the “sketchbook” is buried under the finished painting. This allows me flexibility and keeps me open to potential improvements that arrive later in the process.

What the sitter communicates during the sittings filters through their features and organic mannerisms, and as an artist you net as much as you can. Over many hours the work resolves into a likeness, through placing layer upon layer of paint, each more refined than the last, leaving a passage on the canvas like rings in a tree. By starting the work with life sittings a more human version of the sitter appears at the end.

I view the work as a collaboration, starting with sittings and building from there.

Painting and Conversation, between Andrew Festing and Frances Bell

I approached Andrew Festing in 2022 on the subject of the Royal Society's Jubilee show and gathered from him that he'd be happy to sit for me and also be interviewed and recorded, for Phil Wilkinson to then make a short film about our project.

Andrew is one of the most esteemed 20th century portrait painters and, like many of his generation, he is less well known in the more digital formats that are common today amongst my own generation of painter. This seems a shame given how many younger painters, and many others besides, are keen to know the life stories of our foremost artists.

So it is with great pleasure that I can now show Phil's film of the interaction. I ask Andrew about his career, and we discuss some ideas around painting.

Frances recently drew our 2 year old daughter and we couldn't be more thrilled with it. It captures her completely. The whole process was such fun - with small children herself, she knows exactly how to make sure her subject has fun whilst sitting for the drawing - not an easy task with a toddler but all done so effortlessly.

Sarah and Ed Maitland Carew

After many years of collecting, I was delighted to come across Frances Bell, who has a remarkable talent . Her quick capture of the subject combined with a rare colour sensitivity make her paintings something deeper than just attractive. She will become one of our “Greats”.

Lord Vinson

My family and friends have told me that they think that it is an excellent likeness. I am really pleased to have had the good fortune to have had my portrait  painted by Frances Bell.

Sir John Walker, for Sydney Sussex, Cambridge

Sir John Walker

A fun experience, Frances put me instantly at ease and to my surprise, after my first sitting the portrait was easily recognisable as me.

Elizabeth nodder, Salters Livery Company

Salters Livery

My husband commissioned Frances Bell to paint my portrait as a belated wedding present in which my long-term career as a professional musician would be celebrated.

The whole process from start to finish was hugely enjoyable as she made me feel totally at ease. She worked very collaboratively and was receptive to ideas and comments, and we could not be more delighted with the portrait.

Nicola and George Vestey

Vesteys

Few contemporary painters combine classical training of a high order with exceptional skills as an observer – of people, and of the natural world. Frances is one of the very rare breed who does.

Hugh Raven