The board room portrait might be said to go back at least to the 15th century when institutions in Europe commissioned artists to paint likenesses of their governors and leaders. Even now the high echelons of the corporate ladder are participating in that retirement ritual. At one time the gold watch and grand dinner would do. Now the special event of immortalizing a CEO with a portrait is the ultimate honor.

In an era when corporate takeovers and brisk rounds of musical chairs propel CEOs from one company to another, the portrait tradition endures. There seems to be more interest now than ever. Executives today feel that having their likeness on canvas is not a form of vanity, but the ultimate prize for service.

Although some corporations have chosen to immortalize their chief executives in photographs, most still decide to have a painting. There is a sense of permanence and stability in an oil painting that a photograph will never give. A photographer cannot capture the sense of grandeur that a portrait can.

When a corporation is thinking of having a portrait done of an officer, they consider price, size and the time involved for sittings. Board room portraits range in size from 20 by 24 to 36 by 48 with prices anywhere from $5,000 to $50,000 or more. It is not always easy to get a busy executive to sit for long periods. For this reason the artist must rely on photographs. However, the best artists require painting from life to complete the portrait.

My procedure in corporate portraits involves a preliminary meeting with the client where we discuss the setting of the portrait. A photo session follows to ensure the right statement and spirit. The painting begins in stages with the client asked to do a final sitting from life to complete the final touches.

Professionalism is a must in corporate portraiture. No CEO wants to deal with mediocrity. The procedure should be smooth, timely and enjoyable with putting the client at ease first and foremost. When he is relaxed he can realize the contribution he is making to the company's history.

It is important to remember that not only are you painting a CEO, you are painting the representative of a great corporation. Portraits allow newcomers to the company the chance to view founders and officers and develop a sense of progression and culture of the company.

The corporate client is usually not adventurous in the look of the portrait. Most portraits we paint today have to be in keeping with the other paintings in the board room. By painting in this style we help keep the tradition of academic representational art alive.

My marketing strategy in getting corporate commissions is a simple one. Start by getting the names of every CEO or members of boards in the companies in your town, state and neighboring states. These can be found in the annual reports printed by these companies. Once you have the names and addresses, mail your brochure to them. Many times a secretary or assistant will open the mail, so follow up with a phone call to make sure the material was received by the proper person.

Always send your best work to these potential clients. Remember how important first impressions are. If all goes well, you can make an appointment where you will present your full portfolio or original painting.

In the meeting, plan on discussing the size of the piece, the medium, price, frame and other details. Remember to encourage the client to have some input into the look of the portrait.

When you have painted many CEOs you will develop a reputation, and this will gain you future work.

When the piece is unveiled at a party or reception, remember to take advantage of the hundreds of potential clients in the audience seeing your work first hand.

In painting corporate portraits, one will find a wide variety of experiences, both positive and negative. A pleasant encounter I had was a commission for Mr. W.W. Johnson. the South Carolina Ports Authority commissioned me to paint his portrait, and it received grand reviews. It was not long before I got a call to paint a portrait for his home. Mr. Johnson is also the president of NationsBank, the third largest bank in America. Soon after the commission for his home was completed, I got a call to do a portrait for his bank office in addition to a portrait for the CEO of NationsBank, Hugh McColl. Now, I have been commissioned to paint a portrait of Mrs. W. W. Johnson. All of this happened in just one year!

A somewhat negative experience involved a commission for a CEO of a renowned savings and loan institution. The portrait was well received, and I sat back and hoped for future commissions. While watching TV one day I saw my savings and loan institution listed as one of those considered fraudulent. The bank had to close its doors and all of its contents were to be sold. Not only did I lose any future commissions, but my painting was being sold off. I found out later that the CEO bought it and took it home.

All of this goes to prove that first impressions are so important. That first meeting with a client and the final encounter and presentation of the portrait are so vital to second-generation portraits. Your future is only as good as your last work. Success breeds success!

The human form is the greatest creation and should be captured for posterity in a rich, rewarding experience.