Monday, December 05, 2016

£30,000 BP Portrait Award 2017 - How to enter and how to get selected

This is my Annual Guide to the Call for Entries for the BP Portrait Award 2017 - how to enter and how to improve your chances of being selected for the major annual exhibition at the National Portrait Gallery next summer!

In 2016, 53 artists had their portraits selected for the 2016 Annual Exhibition of the BP Portrait Award - out of 2,557 entries from 80 countries

Will you be one of those artists in 2017?

The wall of prizewinners in 2016 - left to right First, Second and Third

What this post covers

People who win prizes read this blog post! ;)

This post covers the Basics
  • a review of the entry details 
  • what's different this year - the deadline is earlier! (If any of you spot anything else that has changed please leave a comment and I'll do an update.)
Plus context and background (this provides an answer to the question "What do the portraits that get selected look like?")
  • The Judges - I tell you something about each Judge and give you links to find out more
  • I also link (at the very end) to all my blog posts about the BP Portrait Award in the last 10 years - covering selected artists, interviews with the prizewinners and exhibition reviews - and my videos of past exhibitions.
Plus - at the end of this post - you can find my take on
  • how to get selected my suggestions for ways to improve your chances of selection - in terms of both your art and your approach to the competition
  • reasons why this is a competition worth entering - including details of the significant prize money.

How to enter for those who don't like the small print

The website contains:

What's different in 2017

The most important thing to tell you is that
  • the closing date has been moved and is now a week earlier!
  • The closing date for entries is 26 January 2017.
  • Entry forms and payment of entry fees must be completed by 23.59 on Thursday 26 January 2017.
If any of you spot anything else that has changed please leave a comment and I'll do an update.


There are no changes to the entry process or eligibility for this year’s exhibition.
..however they have moved the deadline for entries back a week!

The Rules provide the full and complete information for every entry.

They are complemented by The FAQs about How to Enter which focuses on:
  • the digital entry
  • the judging process
  • your entry
Both are much easier to read now they're on a white background.

We can only live in hope that at some point the competition organisers will make the rules even more readable by
  • increasing the font size still more (it's online - no need to be concerned about how much paper is being used!)
  • increase the line spacing - so words are more readable (i.e. the font size has increased since 2016 but the line spacing remained unchanged so the words are now even more compressed)
  • and/or convert The Rules to a pdf document like the FAQs!
I recommend you read The 2017 Rules three times! That's because the worst mistakes you can make when entering art competitions is to
  • create a work for a competition 
  • and then realise that it isn't eligible 
  • submit it before you realise you breached the rules eg signed it on the front!
  • or you can't present it in the right way by a deadline
  • and/or you're in a rush at the end and are not quite sure what you need to do - which is when mistakes get made.
All due to the fact YOU didn't read the terms and conditions and/or the rules properly.

Note in particular that works can be disqualified - even if selected for exhibition - if they have not adhered to the rules!

Every year I try and make the rules more accessible. I review and revise it each year. I've split the rules up into sections relating to
  • the artist
  • the portrait

RULES: WHO can enter

  • MUST be aged 18 years or over as of 1 January 2017
  • can live anywhere in the world
Around half of those entering the competition come from non-UK countries.

RULES: The Portrait

Pay particular attention to these. Over the years they have become more refined. Where rules are now being spelt out more clearly one can only assume that they have been ignored and/or misunderstood in the past!

The National Portrait Gallery reserves the right to disqualify any piece of work if the artist has not adhered to the rules, even if the work has been selected for exhibition

Each artist is limited to ONE ENTRY PER ARTIST.

The work entered
  • must be recent i.e. completed AFTER 1 January 2016. You are REQUIRED to indicate:
    • the date of the first sitting
    • the date the portrait was completed (Bear in mind people will tell the organisers if they've seen a portrait exhibited prior to 1 January 2015!)
  • SHOULD be a painting based on a sitting or study from life AND the human figure MUST predominate. (a more explicit statement is included in the FAQs - see below) 
    • You need to indicate on the form whether or not you have met the sitter. 
    • The sitter can't be anonymous - you need to provide their name.
    • The portrait can be a self portrait or a group portrait
we request that your painting is based on a sitting or study from life. We understand that you may need to work from photographs for assistance but the primary source should be from life.
    • The form also reminds you that 
the stated date of first sitting should be before the stated date of completion.....a date of completion should be entered, even if it is prospective only
  • MUST be available for the entire period of the exhibition and the tour to two other venues (not yet available - but assume up until April 2018) 
  • must NOT have been previously submitted for consideration. 
  • should NOT be signed on the front. All entries must be anonymous for the purposes of judging. Consequently the judges may reject a work if they decide that this rule has been compromised.

Media and Size:

  • MUST be predominantly painted in oil, tempera or acrylic (No watercolours, works on paper or pastels will be considered ) 
  • MUST be on a stretcher or board, preferably framed and unglazed. 
  • MUST be 
    • AT LEAST 25 x 20cm (10” x 8”) unframed. Smaller works will NOT be considered. 
    • NO BIGGER than 244 x 244cm (96" x 96") framed (including the frame). 
    • Multi-part portraits - up to three parts - must comply with the size constraints for one work when installed and must come with complete instructions for installation.

Digital Entry

  • Digital entry to the First Round is now well established for this competition as it is for others around the world. It's the only way to enter. 
Images must be:

  • Saved in JPEG (.jpg) format
  • Smaller than 3MB (3,000k)
  • At least 1,080 pixels on its longest side (height for portrait format images, width for landscape format images).

The Judges

Clara Drummond, Winner of the £30,000 First Prize in 2016 with Jenny Saville, painter who was one of the Judges
Artists should be aware that all works are judged on an equal and anonymous basis and that there is no segregated judging by region or country.
The Judges this year are:
Landy has used monumental installations/performances to explore political and social issues, such as the nature of consumerism, the commodification of art and the value placed on human beings in the corporate world. He is also a draughtsman, making intimate portraits of his familiars and meticulously rendered botanical drawings.
  • Kirsty Wark, Broadcaster and journalist - Once voted the third most influential woman in Scotland.  She increasingly pops up on the BBC fronting programmes about art and/or artists. Interestingly an article Kirsty's joint has not one reference to art.
  • Camilla Hampshire, Museums Manager & Cultural Lead, Royal Albert Memorial Museum, Exeter - this is a Guardian article about her and her job. Maybe more experienced in museums than portrature?
  • Des Violaris, Director, UK Arts & Culture, BP - the woman who works for the sponsor and leads the BP partnerships with various museums and art galleries. There are some that would argue that sponsor gets to support but not to judge - but this has never been the case with the BP Portrait Award.

The 2017 Exhibition - in London and on tour

The exhibition at the National Portrait Gallery opens to the public from 22 June and closes at 5pm on 24 September 2017.

It then usually tours to two other locations in the UK. (No details as yet that I can find)

Are you invited?

  • Those shortlisted for prizes MUST attend the Awards Ceremony and dinner on the evening of Tuesday 20 June 2017 
  • Shortlisted artists are also expected to attend the Press View on the morning of Wednesday 21 June 2017.
  • All exhibiting artists will be invited to the Private View on the evening of Wednesday 21 June 2017.

How to get selected

Just 2% of the artists who entered had their work selected for the exhibition in 2016. Hence it's a major achievement just to get selected.

Below I tell you what I've noticed when viewing exhibitions over the years - and as trends (and Judges) come and go - based on:
  • track record 
  • the artwork 
  • technical aspects which can improve

Track record

  • Build up a track record of being selected for the exhibition. Those who win the first time they enter are few and far between but a number of prizewinners in the past have been BP regulars.  I predicted one of the prizewinners last year long before he was selected. So what can you do?
    • Enter the competition - you can't build up a track record of being selected if you don't enter!

The Artwork

  • Enter your very best work. You need to be a good judge of the standard of your own work to know whether or not you are ready. In the video below Aleah Chapin - who won with her very first entry discusses holding off from entering until she thought she was in with a good chance of being selected. (Plus she talks about the whole process of submitting and getting selected)

  • Paint more than a head - demonstrate you can do commissions involving hands! Remember the first prize winner may be offered a commission. If you paint hands you put yourself in a stronger position to stand out and impress the judges with your skills. Also you will note that recently commissioned portraits added to the NPG collection very often have heads/upper torsos/hands. You may well enhance your chances by demonstrating an ability to paint more than a head. 
  • Review my past videos of the BP Portrait exhibitions (see my YouTube playlist) to see the nature of the portraits which make it through to the final
  • Paint more than one person! Painting two people and creating a narrative tension between them creates more than twice the opportunity to impress! It's also a great way of submitting a portrait that's different - and in 2015 20% of the selected portraits were of two or more people. 
  • Don't be a "me too" painter. Paint for yourself and not for the Judges. I see portraits (outside the competition) on a regular basis which 'copy' the styles of successful portrait painters. However it's my belief that Judges don't select "me too" painters. They have no interest in how well you can be like another artist - they want to see people who have their own original style. 
  • Think very carefully about size. In 2015 I did an analysis of the exhibition (see BP Portrait Award Exhibition 2015 - video and analysis) which it provides an in-depth analysis of three portrait factors - size, type and number.

Technical hurdles 

Below are some observations about the more technical aspects of getting selected - based on experience and observation:
  • Create a timetable to complete your portrait on time - Diary your time commitment to getting the portrait completed in good time BEFORE the deadline for entries 
    • note the date it needs to be dry enough to travel if selected for the second round.  To do this you need to have enough experience to know how long a painting will take and how long it takes to get photographed. 
    • (That said I've known artists who keep working on a portrait after they sent off their submission - and the form does recognise that some painters may not have finished at the time of submission of their digital entry!)
  • Do make time for studying the actual entry process and completing the form and uploading the image BEFORE the final days prior to the deadline. 
    • You can mess up your entry by messing up your digital entry.  
    • It gets very, very busy towards the end - and silly mistakes can be made if you are in a rush.
  • Excellent digital images ALWAYS make a difference. The photo also needs to be both accurate and totally representative of your portrait.  
    • DO READ the technical advice on How to photograph your work
    • Don't disappoint the judges by making the photo look better than the portrait when 'face to face' or it won't get selected. 
    • When judges are looking to lose portraits from the selection don't make it easy for them by submitting a digital image which is the wrong size / out of focus / with a resolution or colour that are are 'off' and/or misrepresents the real thing!  

11 reasons to enter the BP Portrait Award 2017

Main entrance to the National Portrait Gallery during the 2016 BP Portrait Exhibition
  • This very prestigious portrait competition can change your life. This is a prize that can change people's careers and lives - if they are ready for it. If you are or aspire to be a serious portrait artist you need to think very seriously about entering the competition that in the past has been characterised as "the Oscars of Portraiture".
  • Enhance your CV with a BP Portrait selection - this is the competition that artists boast about being selected for! Just being selected for the BP enhances an artists career - galleries like to boast about your selection too!
  • The prizes are significant. Get selected and you have a good chance of winning a major prize. Nearly 10% of those portraits are selected for the exhibition stand a chance of winning one of the five major prizes. They're worth between £6,000 and £35,000. This year thye are:
    • First Prize: A cash award of £30,000, plus, at the judges’ discretion, a commission worth £5,000, to be agreed between the National Portrait Gallery and the artist.
    • Second Prize: £10,000
    • Third Prize: £8,000
    • BP Young Artist Award: £7,000 (eligible artists are aged between 18 and 30)
    • BP Travel Award 2016: £6,000
  • Become an international artist! This competition welcomes and attracts entries from international artists. In the last two years there were entries from 93 and 80 countries respectively and it's usual for around half of the entries to come from outside the UK. Non-UK painters also win prizes on a regular basis 
  • Get your artwork exhibited in a Major International Art Gallery. The National Portrait Gallery  in London is one the top 20 art galleries and museums in the world - in part because of this competition. It's also in the centre of London next to the National Gallery and Trafalgar Square. 
  • Be commissioned by the NPG and get a portrait in the NPG's permanent collection. In the past artists whose work has been regularly selected and/or shortlisted have been commissioned by the National Portrait Gallery to produce a portrait for the permanent collection. There are no guarantees - but this is also another way of enhancing your CV and interesting galleries and others who commission portraits
  • Get your artwork seen by a huge number of people. Around half a million people will see the exhibition at the NPG in London and on the tour.
  • Be acclaimed by the public and win the People's Choice Award. Even if you don't win a prize you might win the prize where the public get to second guess the judges. The prize goes to the portrait which receives the most votes from visitors to the exhibition.
  • Get major exposure for your artwork via the publicity materials. The artworks chosen for the publicity materials are usually not those shortlisted. Which means you may find your portrait hanging outside the National Portrait Gallery on a banner - or on all the posters around the Underground - and all around London!
  • Have a really good reason for visiting London. Many international artists come to the previews and can be around for the events at the beginning of the exhibition. 
  • Network and make lots of friends. In 2014, David Kassan (Third Prizewinner 2014) suggested that the networking and friendships that painters make with fellow artists also exhibiting in the show are "unbeatable".

Want to know more about the BP Portrait Award ?

For all further enquiries to the event organisers please contact:
  • BP Portrait Award 2016, National Portrait Gallery, St Martin’s Place, London WC2H 0HE 
  • Telephone: 020 7321 6699 
  • email: 
  • Office hours are 9.00 – 17.00, Monday – Friday. 

For future posts about the BP Portrait Award on this blog

  • EITHER Subscribe and receive every post from Making A Mark via email. 
  • OR Bookmark this blog if you want to see f. (for subscriptions see side column)
In the future I will publish:
  • a reminder about the deadline for entries 
  • the list of artists selected for the exhibition 
  • the list of shortlisted artists 
  • the awards ceremony 
  • video interviews with the prizewinners 
  • a review and video of the exhibition 
Below are blog posts about earlier exhibitions on Making A Mark.
  • Note these include links to my videos of the exhibition.
  • If you just want the videos then go to the BP Portrait and Travel Awards Playlist on my YouTube Channel

BP Portrait Award 2016

BP Portrait Award 2015

Call for Entries:
Selected Artists:

    BP Portrait Award 2014

      BP Portrait Award 2013

        BP Portrait Award 2012

          BP Portrait Award 2011

          BP Portrait Award 2010

            BP Portrait Award 2009

            BP Portrait Award 2008 

              BP Portrait Award 2007

              More information

              Sunday, December 04, 2016

              The Drawing Year - end of year exhibition

              ...otherwise known as the The Drawing Year 2015—16 Postgraduate Programme end of year exhibition is now on
              at: the Royal Drawing School Shoreditch
              until: Tuesday 17 January 2017 (Monday to Friday 9am—9pm)

              It opened on Friday and includes over 300 works by the MA level postgraduate students.

              It's always worth taking note of what The Drawing Year students are up to as many of them go on to feature prominently in the "selected artists" lists I post on this blog in relation to prestigious national art competitions from time to time - and some of them win the big prizes!

              The Best of The Drawing Year
              Drawings by Matthew Booker, Emma Inge and Eleanor Watson
              It's also a good indication of the nature of contemporary drawing - the nature of which might surprise those who favour the photorealistic version of drawing.

              The Drawing Year

              The Drawing Year is a one year postgraduate level course run by The Royal Drawing School founded by HRH Prince of Wales (and previously known as the Princes Drawing School).
              The place to learn to draw. Drawing is a primary language. It is a crucial route to innovation across the creative disciplines and beyond, from fashion, fine art and animation to filmmaking, product design and engineering.
              Important features of the Drawing Year are:
              • post-graduate MA level 
              • full-time
              • bursary/scholarship approach i.e. no fees
              • free studio space
              • one year - three terms of 10 weeks each
              • Students are expected to attend:
                • a minimum of two taught full days a week at classes
                • Wednesday evening forum, lecture series and 
                • personal studio practice days.
              The Drawing Year is a full scholarship MA-level course offering up to thirty students the opportunity to focus on drawing from observation for one academic year. There are no tuition fees for The Drawing Year – all students are awarded a full scholarship and receive a free studio space.
              Find out below how to learn more about the course and how to apply for a place.

              The Drawing Year postgraduates 

              Those taking part in this exhibition are as follows.

              I was rather surprised at the extent to which students didn't have websites and/or have done little to make themselves easily found on Google.
              • Euphrosyne Andrews
              • Daniel Blumberg
              • Matthew Booker, 
              • India Boxall, 
              • Becky Brewis Becky graduated from Oxford University of Oxford in 2010 with a degree in English (2.1) and then spent a delayed postgraduate year at the Royal Drawing School doing The Drawing Year (MA-level bursary) September 2015-December 2016 (Twitter)
              • Grace Exley Prior to the Royal Drawing School, she studied at the Ruskin School of Art in Oxford. This is a podcast about her drawings.
              • Oscar Farmer
              • Aisha Farr - studied English and Ancient Greek at the University of St Andrews and UCL prior to The Drawing Year.
              • Holly Froy
              • Shanti-Om Gorton - graduated from Brighton University with a BA Fine Art Painting
              • Thomas Harrison - While a student on the Drawing Year, Tom Harrison had a drawing of a view from a flat selected for the Jerwood Drawing Prize 2015. He then went on to win the £8,000 First Prize.  This is a blog post about that achievement - Below are two more views of the view of scaffolding from a flat.

              Friday, December 02, 2016

              The only English painter of 'Loving Vincent'

              Sarah Wimperis is the only English painter on the painting team who have created Loving Vincent - the world's first fully-painted feature film which brings to life the paintings and subjects of Vincent van Gogh - and Vincent himself.

              Some 100+ members of the team have been painting 62,450 frames in oil paint - in the style of Vincent Van Gogh - over the last six years

              The makers of the film claim that if all the paintings were laid on the ground they'd cover an area the size of London AND Manhattan!

              Sarah is based in Cornwall and works full time as a professional artist and illustrator. She is represented by the Beside the Wave Gallery in Falmouth.

              She signed on for a job in Poland which sounded intriguing and unique and which she thought would take five weeks. In the end it turned out that she was involved for five months during 2016.

              The BBC recently made a film about the process used to create the film and their correspondent went to meet Sarah in Gdansk where the film was made.  

              The BBC finds Sarah Wimperis at work on a painting for Loving Vincent
              This short video is very much recommended viewing - the process (as explained by sarah) is absolutely fascinating.

              You can also see on the website:

              Thursday, December 01, 2016

              Deanna Petherbridge on Drawing

              Ten years ago, I went to a series of lectures by Deanna Petherbridge called Drawing towards Enquiry at the National Gallery in London in 2006. She is the only person I know who has been both Professor of Drawing at the Royal College of Art and the Arnolfini Professor of Drawing at both the University of the West of England, Bristol  and the University of London.

              Tomorrow a new exhibition of her work Deanna Petherbridge opens to the public at the Whitworth Art Gallery in Manchester (which is one I'm fond of as I used to pass it every day on my way home from school).  Dates are 2 December 2016 – 4 June 2017
              Travelling extensively through Europe, India, the Middle East and Far East, her detailed monochrome drawings are inspired by diverse landscapes, cities and cultures: from mathematical patterns of Islamic design, to rustic Umbrian dwellings and Manchester’s industrial cast-iron structures. Detailed geometric studies or free inventions in brush and wash, her distinctive works deal with the impact of colonialism, industrialisation and warfare. Her passionate condemnation of present conflicts is expressed in the 2016 triptych 'The Destruction of the City of Homs'.
              Cover of
              Deanna Petherbridge: Drawing and Dialogue
              A new book about drawing Deanna Petherbridge: Drawing and Dialogue has also been published by Circa Press and the launch is this evening.

              Previously she has published
              Her academic credentials are impressive:
              • 1995 to 2001 - Professor of Drawing at the Royal College of Art from where she launched the Centre for Drawing Research, the first doctoral programme in drawing in the UK and ran an extensive course of drawing workshops and open lectures for the whole college.
              • 2002 to 2006 - Arnolfini Professor of Drawing at the University of the West of England, Bristol
              • 2007 to 2009 - two year Research Professorship at the University of Lincoln 
              • 2009 to 2012 - Visiting Professor of Drawing at the University of the Arts London. 
              Deanna Petherbridge CBE is an artist, writer and curator primarily concerned with drawing. (Her profile on her website)
              Deanna Petherbridge in her Drawing Studio
              This is a video about Deanna Petherbridge talking about Drawing. She's very articulate and intense and you need to concentrate to follow what she is saying. It's fascinating to hear her talking again ten years after I first heard her talking about drawing.

              The Drawing towards Enquiry. Enquiry towards Drawing lectures in 2006 covered
              • The Poetics of Line
              • Expressive Bodies and Personal Identities
              • Playing with the Provisional: Sketching in Art & Design Practice - see my review Playing with the Provisional
              • Caricature, Crassness and Cruelty - see my review Crassness and Cruelty
              • Obsessive Drawing
              • Mickey Mouse and Manga: Drawing and Popular Culture.

              Tuesday, November 22, 2016

              ING Discerning Eye 2016 - award winners and review

              A total of 727 works - including paintings, prints, sculptures, drawings and photographs - by 405 artists are on show at the ING Discerning Eye exhibition from 17 - 27 November 2016 at the Mall Galleries in London.
              The ING Discerning Eye Exhibition is a show of small works independently selected by six prominent figures from the art world: two artists, two collectors and two critics. 
              Each of the selectors has curated an exhibition from works by artists they have personally invited to exhibit, as well as artworks submitted through the Open Call for Entries. The result is six smaller exhibitions within one, each with a very distinct personality.

              The unique nature of the ING Discerning Eye is that the exhibition looks very different every year - because both selectors and the way they like to hang their chosen works varies each year.

              Unfortunately my osteoarthritis was playing up yet again (it's the timing - wet November evenings are never good for mobility!) and so I missed a lot of the Artists PV last Thursday - and went home before the prizes were announced as I can't stand without sitting for any length of time. However thanks are due to Parker Harris who let me photograph in the period between the end of the exhibition for that day and the opening of the PV. Which means I have photos which actually show you what the exhibition looks like rather than a lot of people's heads with paintings peeping out behind the heads!

              This post will highlight:
              • something about each of the six mini exhibitions in the galleries
              • artwork I liked
              • who won which prize (and which curator chose the work!)
              I'm going to do something I've not done before which is order the prizes by the selector who invited or picked the work. The link in the
              • name of the artist is to their website (or a gallery website) - where you can see more of their work
              • title is to the work on the ING Discerning Eye website.

              Artist: Dan Coombs

              artist and writer, currently visiting professor at Haute École d’art et de design in Geneva, 

              An eclectic choice by Dan Coombs
              I wasn't too sure about Dan Coombs wall to start with. It looked a lot more eclectic than most I've seen at the Discerning Eye before and without any obvious rhyme nor reason.  Some of the juxtapositions seemed very odd.

              Louisa Crispin had to bend at the knee in order for me to get a photo of her
              Decaying Eringium without it being swamped by the painting above!
              Then I learned the story behind it.

              Dan Coombs's approach to curating the exhibition:
              • he invited 60 individual artists to each select one work to submit to the exhibition - however he has no knowledge of what was arriving until he came to hang the exhibition.
              • He selected a further 78 works from the open entry and created what is possibly the biggest ever exhibition in the history of the ING Discerning Eye.
              When it came to the hang he started with the orange in the middle and then connected paintings from there and worked out across the wall.

              When I looked at his wall again with this in mind it made complete sense!

              It makes me wonder whether each of the exhibitions should have a short narrative by the curator next to them commenting on how they selected works and hung them. I think visitors would find it very interesting.


              Surge Tide, Saligo Bay (£1,750) by Chris Bushe

              Artist: Chris Orr RA

              Royal Academician Chris Orr RA.

              He commented on the process of selection.
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