I start the painting process with the “big picture,” using broad brushes to capture that fresh, live feeling. As details come in, the size of my brushes get smaller until some strokes become dots. I end up painting for 10 minutes or less and let the painting sit in the studio as I need time to refresh my eyes. Only then can I finally see the painting as an outsider. This is why I always have several paintings in progress.
Karen #1, oil on canvas, 72 x 54" (182 x 137 cm) Light has always been a captivating subject for me, and for this painting, I aimed to evoke a cinematic atmosphere—a play of dramatic exposure complemented by a sumptuous dress. Wrenn, the woman who shares her life with me, is not only my muse but also my love and best friend. My intention was to celebrate her, showcasing not only her beauty but also her inherent simplicity. To achieve this, I engaged in an extensive photoshoot, experimenting with light and capturing intricate details. My goal was to craft an image that felt surreal, reminiscent of a movie star gracing the red carpet. The essence of the painting lay in portraying every facet of her complexity, yet creating a space where she stands alone, singular and extraordinary.
I work from high-quality monitors to keep the colors vivid, as if the model really were in the room. It allows me to zoom in on details and not be concerned about the time I spend painting. To create my vision of the composition, I’ll sometimes use hands from one image and a face from another image. I mostly work from digital shots, but I don’t consider my work photorealistic. Photoshoots are just another way to feel my model’s essence.
Nella, oil on canvas, 36 x 30" (91 x 76 cm) Nella’s portrait has a special place in my heart; it was not a commission but a personal choice. She had a presence as a person, and I wanted to capture that magic to truly portray her kindness and ethereal beauty. I opted for a straightforward background, drawn to the simplicity I’ve always admired in Fayum portraits, where the focus is entirely on the subject. The allure of her darker skin tone captivated me, with reds and greens playing a captivating dance. The depth in her eyes captured that transformative moment when a young girl transitions into womanhood. Her crossed arms conveyed a sense of inaccessibility, yet paradoxically, she felt incredibly close.
Kelly, oil on canvas, 68 x 54" (172 x 137 cm) This painting holds special significance for me, as it marks a milestone. Painting a lady, a queen, is truly an incredible experience. The photoshoot was overwhelming, and this particular image, taken last, felt like I had captured something divine in her essence. Sometimes, it’s the first shot that speaks volumes, but I never really know. For me, my artwork is a visual journey shared with the viewer. It’s not about the surroundings—the couch or the mantle. Rather, I want you to find your way to her eyes. Look away if you must, but always return to the beauty of her soul. This approach is inspired by the Great Masters; they guide me to see what they want me to see.
I use vibrant oil colors with a palette that resembles a rainbow. When I mix colors, I focus on the central area and frequently clean it. I make intentional decisions about what I want to stand out and be precise, like the eyes and lips. I intentionally leave certain areas less blurry, guiding the viewer’s eyes through my visual maze. I don’t neglect any surfaces— instead, I prioritize them based on their importance to me, often emphasizing the eyes. —
About the artist
Laurent Dareau Saint-Ar
Paris-born artist Laurent Dareau Saint-Ar earned his MFA from the National School of Fine Arts in Lyon, France, in 1992 and another from the National Superior Decorative Art School in Paris in 1997. His artistic journey took off in 1996 when he began exhibiting his works in Paris and concurrently working as a published comic book artist. Over the years, his exhibitions expanded to London, Aix-en-Provence, Cannes and beyond. In 2002, Saint-Ar seized the opportunity to move to San Francisco. With contacts in American art galleries and friends in animation studios like Pixar and Dreamworks, the artist started receiving commissions for portraiture.
He relocated to Los Angeles in 2005. Joining the LA Art House Gallery in 2009, he began teaching and received numerous commissions, including portraits of notable figures such as CEOs, board members of significant companies and prominent local personalities. The need to visit his family in France prompted him to relocate to Palm Beach, Florida, balancing his artistic endeavors between California and France. Notably, he was chosen to create a large mural commemorating 9/11 for the Bonita Springs Fire Department, a project close to the artist’s heart as a former French cavalry officer. Today, he resides in the Palm Beach area with his wife and children, where he continues to pursue his passion for art through private tutoring, exhibitions and commissioned portraits.
Contact at
saint-ar.com