Cato Pedder

This portrait was commissioned to celebrate the release of Cato’s book 'Moederland - nine daughters of South Africa', published by John Murray Press (widely available in hardback, paperback, and audiobook).

Cato chose to be situated in front of her (bowing!) bookshelves, with a carefully selected collection of the well-thumbed books that have been important to Pedder’s life journey, and as references for her own writing.

We collaborated on everything from composition to fine details, enjoying the many process similarities and differences between writing and painting. Whereas Cato’s Moederland research and writing took 10 elapsed years, the portrait luckily took only a few weeks. Inspired in part by Harold Knight's portrait (see below) of artist Laura Knight (president of The Society of Women Artists from 1932-1968), but without the gaze.

I am very happy that Cato came to my open studio, which was the catalyst for this commission. On our first commission meeting we discussed ideas, and I did a couple of quick (15 minute) pencil sketches from life. The two sketches (shown below) helped us explore angle, composition, lighting, and gave Cato a feel for how it was to pose. They helped me start to get a sense of her facial structure, and what sort of representation she was looking for.

This process helped us reach a plan - a 3/4 angle, cropped, and with direct, knowing eye contact with the viewer. Following this we had two sessions in my studio, where I painted the under painting from life, then blocked in the colour. I also took reference photos, and tried out an alternative composition. I wanted to offer Cato a more conventional composition, but was delighted that she chose to proceed with the cropped shoulder, which to my mind creates a much more interesting dynamic feeling.

On my 2nd visit to Cato’s home, we together rearranged a few of her books as a background, so I could block them in from life and take more reference photos. We deliberately put those closest to her heart by her heart, and her own book Moederland ‘behind’ her head. I love that Virginia Woolf is literally at her shoulder, and the way the different book cover colours allow for lost edges and interesting colourplay.

We discussed expression, and managed this carefully and deliberately throughout the process. About half way through the portrait, we agreed to leave out the necklace. Although it has sentimental relevance, we both felt that the contrasting impact of having an almost 2d black area (offsetting the patterning effect of the bookshelves) was too good to be missed.

I continued working from photos, exchanging progress and comments with Cato throughout.

Finally, I was struggling to get the impression of Cato’s striking hair without being too detailed. I am so grateful to Sally Ward whose beautiful recent portrait (shared with permission) and generous advice transformed the treatment of hair in my painting.

The photos here show progress, also the Knight painting, and Sally Ward’s. Also photos with Sally at the SWA 164th annual exhibition, where we both exhibited recently.

Huge thanks to Cato for allowing me to share progress. For more information on my commission service, don’t hesitate to contact me, or see this page.