Featured artist: Tina Figarelli
At Rest, 14x18, oil on Ampersand Primed Smooth
Tina Figarelli is a realistic figurative painter working from her home studio near Chicago, IL. Inspired by a childhood love of storytelling, she creates narrative-driven works exploring grief, love, and memory through figurative and still-life subjects.
Save Our Souls, 14x18, oil on Ampersand Primed Smooth
Q: At 19, you visited the Art Institute of Chicago and discovered 19th-century classical artists. What specific qualities in their work ignited your passion for classical figurative painting?
In my 19-year-old mind — with my very limited art history teachings — there was this large gap in my knowledge of painting. I knew about Starry Night and some Picasso works. I knew about some guy named DaVinci and the Mona Lisa. As much as I appreciated them for what they are, they didn’t strike me as “life-changing” as others saw them. However, when I found out that a man named John Singer Sargent had painted these magnificent figures, I knew that gap had been filled. I finally found the work that would make me feel the way some people feel about Van Gogh or Picasso.
Luckily, there was a traveling exhibition (Sargent in Spain, I believe) at the Art Institute of Chicago the next month, and my husband (boyfriend at the time!) came with me to see the show. That day, I learned all about what I was missing. The kind of art I wanted to make. Not only were there the Sargent paintings in the museum, but also the William-Adolphe Bouguereau and the Antonio Mancini. I adored the way they painted not only people, but their souls. I don’t know how they did it, but I knew I needed to at least try to figure it out.
Be Wary, 11x14, oil on Ampersand Primed Smooth
Q: Was there a particular artwork from that visit that profoundly influenced you, and what aspect of it resonated most?
The Bathers by William-Adolphe Bouguereau. It’s the only Bouguereau in their collection, and it’s an amazing one to have. I’ve been to the museum who knows how many times, and I will always take as many photos of it as I can and get as close as possible without setting off any alarms. The way he painted the two women's skin is just unbelievable. Bouguereau paints very softly, and there is almost no trace of brushstrokes — but it doesn’t feel “photographic” or flat. It feels alive, and that’s what struck me so much.
It may sound strange, but the lack of a crowd around this painting drew me to it as well. Many of the well-known pieces in the collection, like Monet's and Seurat's, often have large groups of people in front of them, snapping photos and checking off their bucket lists. This piece, however, is in the last corner of the European Art section, and there are usually very few people in this room. It allows for a feeling of intimacy and really lets you enjoy the painting.
Someone's Daughter, 20x16, oil on Ampersand Primed Smooth
Q: In your self-portraits, how does having full control over your image guide the narratives or emotions you choose to reveal?
Oh, it’s wonderful! I am someone who is a very independent worker. I never liked group projects, and I enjoy having free rein with my ideas and concepts. That being said, I am also a creature of habit and deal with a lot of anxiety when it comes to trying new things. I am very much reliant on my husband for pushing me to continually try new ideas and for my long, long list of painting concepts to work through.
When it comes to narrative or emotions in my piece, I find myself picking and choosing what painting I’m working on depending on what I’m feeling and what’s happening in the world around me during that time. If things feel stressful in the world and there seems to be too much happening all at once, I will usually turn to something small and fun, like portrait studies or paintings of my kitty, Zelda. If I feel a bit more stubborn and ready to take things head-on, I will work on my more introspective narrative pieces.
Ribbons and Relief, 14x18, oil on Ampersand Primed Smooth
Q: When starting a new piece, do you usually begin with a story, a visual idea, or a specific emotion?
It changes depending on the project! I would say more often I have a title and/or story, and then it’s a journey of finding the right composition for it. Sometimes I can shuffle through my collection of references and find one that fits or do a whole new photoshoot for it specifically. From there, I continue to expand and “get to know” the painting as I work on it. It almost feels like a conversation with the piece while I’m painting — getting more comfortable with the concept, the colors, and the story. They almost become my friends, or an extension of me, during this time.
Twin Ribbons, 14x11, oil on Ampersand Primed Smooth
Q: There’s a noticeable harmony in your use of pinks, lavenders, and earthy browns. How does color influence the emotional tone of your work?
Femininity has always played a large role in my life and in my work. As a child, I loved everything about being a girl. I loved the bows, the pastel colors, the accessories, the softness, the shared time braiding each other’s hair. I loved pink, even when I was told it was “too girly”, and then I felt a little bad about liking it so much. Using pinks and lavenders in my work now feels like how I did as a child, eagerly accepting femininity and being excited about it. I love being a woman and bonding with other women about their experiences. The browns and neutrals are what help my work feel grounded and help bring the contrast to the piece. There is a lot of beauty in brown as well.
To Love Someone Small, 12x12, oil on Ampersand Primed Smooth
Q: You’ve said, ‘Paint what you love.’ How does this approach manifest specifically in your current art practice?
I spent a long time painting what I thought I should be painting. I am still very grateful for these pieces, because they were necessary to learning and building my skill. But it was rooted in a lot of insecurity as I was trying to find myself in my artwork and wasn’t even sure what I wanted to say. After many paintings, I started to see a pattern. I was the happiest with the outcome of my work when I painted whatever I wanted. Painted whatever I loved. Whether that was a story I wanted to tell, a reflection on what it feels like to be a woman in this day and age, or a silly little painting of my cat. I go in the studio every day with a plan but am flexible to change it as needed. If I am feeling more low energy (and maybe a bit insecure), I will do some smaller work with low “risk” or work on administrative things. If I am feeling more confident with better energy, I will work on a larger, more complex composition. This ebb and flow have been very helpful for my mental health and productivity in the studio lately.
A Mother's Love, 14x11, oil on Ampersand Primed Smooth
Q: Your cat Zelda has clearly claimed her spot in your paintings. Does she know she’s your muse?
I hope so. I tell her often, but I don’t think she really cares. She knows she is loved, and that’s enough for me. Something I do for fun is just hold the paintings up to show her or pick her up and show her the work on the easel. She likes to look and probably feels proud that a piece of her fur is on it somewhere.
Sometimes she even steps on the paintings. I like to take that as a compliment.
At Peace, 6x6, oil on Ampersand Primed Smooth
Q: Your painting At Peace supports a fundraiser for The Illinois Coalition for Immigrant and Refugee Rights. As an artist, how important is it to you that your work can make a tangible difference beyond the work itself?
It’s extremely important to me. Yes, I want to make beautiful work that is pretty to look at. But I also need to wake up in the morning and feel like the work I’m doing is helpful to the world. Whether that is by making someone smile by looking at a little painting on their phone screen during a hard day at work, or by actively donating money to a cause that will provide aid to those who need it most. There is so, so much hate and darkness in the world, and I refuse to ever feed into it. I would like to be the light.
Kinship, 18x14, oil on Ampersand Primed Smooth
Q: How did you discover Ampersand, and what do you love most about Primed Smooth for your work?
I first discovered Ampersand when I was looking for panels to paint on at my local Blick art supply store. I had just started oil painting and had absolutely no idea what to do. I knew I needed paints, brushes, and something to paint on. I tried canvas panels when I was painting with acrylics, but I really disliked the tooth and texture. One day, probably back in 2020, I tried the Gessobord and felt I was closer than ever to finding my true favorite surface. I wanted something just a bit smoother, and that’s when I found the Primed Smooth panels on the next supply run. I use them for practically every single painting in the studio. I adore the surface and usually tone it, use it as is, or add a layer of gesso if I want a bit more tooth for alla prima paintings. They’re wonderfully versatile, reliable, and affordable.
Artist Bio:
Tina Figarelli is a realistic figurative artist working full-time in her home studio near Chicago, IL, with her husband and their cat, Zelda.
Tina creates paintings that tell stories — and given the fact that she dreamed of becoming an author as a child by writing complex stories of her own, she finds this expanse into painting the perfect fit for her. Her work features stories of grief, loss, and love — creating a beautiful piece that takes the viewer through the narrative with her. With a focus on figurative art and still life, Tina weaves together strong narrative and sentimental elements in her works. Frustrated by the lack of formal classical art training in her schooling, she vowed to study the work she loved on the walls of the Art Institute of Chicago — those of William Bouguereau and Henri Fantin-Latour. This brought her to East Oaks Studio in Raleigh, NC, where she studied under portrait artist Louis Carr.
Tina has been placed in multiple Portrait Society of America competitions and recently awarded 1st place in the Member’s Only competition for her piece To Bury a Friend. She has participated in numerous group and solo shows in local and national galleries. Tina has work supported by collectors in the United States and internationally.
Tina’s work is available directly through the artist from her studio, as well as Collins Galleries in Cape Cod, MA. To see more of Tina's work, visit her website, Instagram, Facebook, and YouTube.
