Born in 2001, Elizabeth Ralph-Smith grew up in the picturesque landscapes of New Zealand. Her journey into the creative world began at an early age when she was introduced to the arts through the New Zealand Suzuki Institute. She learned to play piano at the age of 4 and performed in various locations throughout New Zealand. As she honed her piano skills, Ralph-Smith’s love for the arts continued to grow. She wasn’t content with just one form of artistic expression; she sought to explore other arts and was soon drawn to theatre and performed in plays and musicals in Auckland Theatres, including the Uxbridge Arts and Culture Center and Due Drop Events Center. 

Elizabeth Ralph-Smith, Despair, oil on linen, 27½ x 23½" (70 x 60 cm) 

 

In 2018 she graduated from Sancta Maria College as Valedictorian with scholarships awarded for her photography and English, but her talents weren’t limited to the written word or the camera lens. Her visual art portfolio was so remarkable that the New Zealand Qualifications Authority selected it for a nationwide tour.

Elizabeth Ralph-Smith, Male Figure Study, oil on linen, 53 x 23½" (135 x 60 cm)

 

At the tender age of 18, her artistic journey took an international turn when Ralph-Smith received the opportunity of a lifetime—she was accepted into the Florence Academy of Art in Italy, an institution founded by the esteemed painter Daniel Graves. In 2019, she embarked on a transformative journey to Italy, a country steeped in artistic history, to pursue formal education in the traditional methods of drawing and painting. For three years, Ralph-Smith immersed herself in the rich culture and artistic heritage of Florence. She learned the time-honored techniques that had been passed down through generations, studying under the guidance of skilled mentors. Upon graduating with a Diploma in Painting in 2022, she was awarded a Graduate in Residence position. She now lives and works in Florence as an instructor in the Advanced Painting Program at the Florence Academy and as an independent artist. Florence had become not just a destination but her artistic home.

Elizabeth Ralph-Smith, Marco, oil on linen, 19½ x 15¾" (50 x 40 cm)

 

When asked about one of the biggest challenges in her young career, Ralph-Smith recalls the courage it took to move to another country and pursue her art education. She says, “The decision to leave my home in New Zealand and travel to Florence to pursue a formal education in traditional drawing and painting was one of the biggest challenges I have ever faced. I remember being afraid of a new country, new language and strangers. The intensity of the program at The Florence Academy of Art was beyond anything I had ever experienced and that, coupled with living away from my family for the first time ever, was very overwhelming. I felt insecure about my own abilities and was unsure if I had made the right decision. Before I completed my first year at the FAA, Covid-19 shut down the school and travel. I was in New Zealand, waiting for the borders to reopen so that I could return to Florence and complete my training. I think this was my breakthrough—it was when I was at home, not knowing if I could return to my studies, that I realized how much I wanted to finish what I had started despite the challenges and despite the insecurity I felt. I traveled back to Florence with a new determination to succeed. My work didn’t miraculously improve upon my return with this newfound inspiration, but it was a kind of fire that drove me to work harder and a reminder of why I started the journey in the first place.” 

Elizabeth Ralph-Smith, Self Portrait aged 21, charcoal and while chalk on paper, 23½ x 17¾" (60 x 35 cm)

 

Elizabeth Ralph-Smith, Study of Three Roses, oil on linen, 13¾ x 15¾" (35 x 40 cm)

 

Ralph-Smith’s commitment and devotion to learning was recently rewarded as the recipient of First Place in the Portrait Society’s The Future Generation competition. Her portrait, titled Miriam in White (see first page of the Chairman’s Letter), was inspired by Virginia Woolf’s To the Lighthouse. In this novel, the focus shifts between various characters, with their inner complexities driving the narrative rather than any singular event or action. Ralph-Smith was particularly struck by Woolf’s depiction of women, each portrayed with their own unique flaws, strengths, and perceptions of the world. She says, “With Miriam in White, I wanted to capture the same kind of depth—placing emphasis not on any specific action taking place but on the person within the painting, engaging the viewer with a challenging gaze. In many ways, I wanted people to look at the piece with a critical eye and see a critical eye looking back at them. I work directly from nature, so throughout this project I was able to learn more about Miriam. Our conversations informed my decision-making throughout the painting process, and as I learned about her interests, dislikes, studies, and aspirations, I was aided in my endeavor to capture her character beyond the visual surface. In this piece, I hoped to capture a kind of psychological heaviness that I believe is felt by many people—including myself—who are trying to navigate the challenges and unsteadiness of life.” 

When viewing her work, one can immediately see her dedication to the traditional practice of painting from life. While her work shows inspiration from the masters of the past, it also reveals a contemporary perspective. It’s this commitment to authenticity and attention to detail that gives her work vitality and depth. By embracing the discipline of representing reality as it unfolds, Ralph-Smith continues the legacy of traditional realism and figurative art, merging classical aesthetics with modern sensibilities. —