ABOUT HARRIET DAHAN-BOUCHARD, PORTRAIT PAINTER

Born in North London in 1988, Harriet moved to Somerset when she was seven and was educated at St Gregory’s School, Bath and Downside School. After working in Bath for a couple of years, she managed to put together the funds to study at the Charles H. Cecil Studios, Florence, Italy, where she completed three years training in portrait painting.

Harriet has had a thorough training in the naturalistic tradition of drawing and painting from life using sight-size, a technique that stems directly from the leading ateliers of nineteenth-century Paris. This portrait practise has been used by masters since the seventeenth century, including Reynolds, Lawrence and Sargent. Harriet tries to work exclusively from life (circumstances permitting) not only from a visual aspect but also in order to get to know and understand the person she is painting through the process.

Born into a family of artists, Harriet made an early decision that she wanted to become a portrait painter and when her father bought her a book on the painter Ingres when she was eight, this only went on to confirm her decision. Having finished her training at the end of June 2012, Harriet is now based in Bath.

Now named Aspire Magazine’s Portrait Painter of the Year, Harriet has held various exhibitions throughout the UK. In addition, Harriet has collaborated with International clothing outlet Urban Outfitters to display 15 portraits as part of the visual merchandising concept for the Autumn/Winter season 2012. The in store installation captured the imagination and praise of the company’s CEO who stated that the artworks captured the innovative company’s renowned vision.

Her shows alongside her father Phillip Bouchard entitled ‘Meet the Bouchards’ and later ‘Encore Bouchard’ on the King's road in London, courted rave reviews and secured articles in some of the countries glossy magazines. Her impressive resume continues to expand. Harriet’s portfolio now features members of high society, local celebrities and dignitaries. Her talent was recognised by The National Portrait Gallery of Malta in 2015 when her works were published in their book.

After 10 years of research, this new publication features influential people by International artists from the past few hundred years. The book includes photographs, paintings and drawings, sculptures and even caricatures. Alongside some of the world’s most renowned artists, this book offers a first time visual narrative of Malta’s past and present. Three portraits from Harriet entered into the publication include: Ian Peter (Conductor) and The Rt Hon. Lord Igor Judge, Lord Chief Justice of England and Wales.

In 2017, Harriet was invited to an artist in residency at the Victoria Art Gallery, Bath.

Starting out early: Harriet helping her father with one of his paintings

Prices

Prices for drawings range from £250- £450 depending on whether the drawing is 'under life size' or 'life size'.

Oil paintings start at £1,600 for a life size 70x50cm 'head and shoulders' and go up to around £8,000 for a 'full length' portrait. Prices depend on what is required and will be agreed with the client before starting the project. Please feel free to get in touch with Harriet if you have any queries.

Recommendations

'After seeing some of her work, I commissioned a family portrait from Harriet Dahan-Bouchard. It was a tough brief. The portrait would feature my wife and me, my two sons (aged 28 and 26) and, most importantly, our new dog - a Labrador/Staffie cross called Boss. We wanted something modern and arresting, not too conventional. The canvas was going to be huge. Above all, it had to be fun!

Harriet came round and took a series of photographs in my office. We're all insanely busy so she had very little time. She photographed us separately and together, taking advantage of the deep perspective and the spectacular views of London.

Cut forward six months and the result delighted us all. We got exactly what we wanted. Harriet had captured our likeness, obviously, but the way she had arranged us on the canvas did something more. One of my sons is coming in from the terrace. My other son is his cool and nonchalant self. I loved some of the little touches she had added - the Spitfire out of the window referencing Foyle's War, the Tintin rocket, the box of Maltesers from one of my early books. Boss steals the scene.

The entire process was enjoyable and, dare I say it, good value. We now have a painted snapshot of the family at a certain moment in our lives and it makes me happy to think that we will together forever.'

Anthony Horowitz