Online Critique Group Recording: Portraiture vs Figurative Art – Featured Artist Suzanne Stoltenberg, Airville, PA

In this week’s session we meet Pennsylvania artist  Suzanne Stoltenberg and talk about her figurative paintings. We discuss the differences between portraiture and figurative work and the challenges and opportunities that come with marketing each. Watch the session below.

You can view the schedule for upcoming sessions and participate in our Critique Group by visiting our Online Critique Page.



A love of horses.jpg

Artwork Information: Title: A Love of Horses
Medium: oil on canvas
Size: 24 x 18
Price: gift to a friend

Capturing the News.jpg

Artwork Information: Title: Capturing the News
Medium: oil on canvas
Size: 20 x 16
Price: 300


Artwork Informaiton Title: Joanne
Medium: oil on canvas
Size: 20 x 16
Price: collection of artist

muzzy_and_friends FINAL.jpg

Title Title: Mom and Friends
Medium: oil on canvas
Size: 36 x 24
Price: collection of the artist

Dishplate Hybiscus.JPG

Artwork Information:  Title: Dish Plate Hydrangeas
Medium: oil on canvas
Size: 48 x 36
Price: collection of the artist
 Presentation Image #1


Presentation Image #2

back of painting resize.jpg

Presentation Image #3

mexican parade.jpg

Portrait Image of Yourself

Suzanne Stoltenberg.jpg

What Questions Would you Like to Have Answered About Your Art During a Review Session? How to sell work, get gallery representation, and show a consistent style that will be saleable.

I have increased my production speed but should I go looser or smaller which is okay with me, to produce more work.

I am focused on promoting myself now on Instagram and Facebook, and have a webpage, but haven’t begun to sell, other than randomly while still working full time. That only changed 6 months ago. What should be my logical next steps to get there and am I too old at 65?

Even though I have won awards, been accepted in to juried shows, produced shows for multiple artists, and even had a solo show locally, should I enter national contests of OPA and PSA or others to build broader credibility?

What is Your Website Address (Optional)

About the Author: Jason Horejs

Jason Horejs is the Owner of Xanadu Gallery, author of best selling books "Starving" to Successful & How to Sell Art , publisher of, and founder of the Art Business Academy. Jason has helped thousands of artists prepare themselves to more effectively market their work, build relationships with galleries and collectors, and turn their artistic passion into a viable business.


  1. I am sorry I missed this live critique session. As a figurative and portrait artist, I found two things have worked well for sales: The first is capturing the back of the model. Sounds weird, but you can get a lot of information about emotion and activity without actually identifying the person. I did a series of the Interpreters in Colonial Williamsburg and have had good sales: One was of a silversmith sitting with his back to me… but the real subject of the painting was the light coming in the windows. One was a disabled interpreter of a retired revolutionary soldier talking to a Vietnam Veteran in a wheel chair out on the street. Another was a woman in colonial costume putting picking up a tin from a window… again, the light was so important. All of these were 16×20 or 20×16 and sold for $1000 to $1100. I’ve also sold paintings of small children doing things and while the references are of my own relatives (my kids when little or nieces and nephews and now grandchildren; you really would not specifically identify them (unless you knew them) and I find that just the subject matter… a tiny child carrying a large watering can, a small group of tiny ballerinas waiting to go on stage for their rehearsal, a three year old in a pool with floaties, a child with a dog or kittens, picking tomatoes, holding a chicken. …

  2. I liked the cameraman painting a lot, as well as the girl with the horse. Maybe real people doing recognizable activity is generic enough? Also the concerned look on his face was an attractive part of the painting. It felt very in the moment.

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