Renaissance Roots, Modern Mastery: Inside the Studio of Svetlana Cameron.

In an art world focused on contemporary expression, Svetlana Cameron has carved out a unique position by mastering Renaissance techniques that most art schools no longer teach. The Russian-born British artist has built an impressive reputation creating portraits using traditional methods, with her works hanging in prestigious institutions like the Royal Regiment of Artillery and private collections worldwide. With a Leonardo da Vinci Prize and 'Living Master' status from the Art Renewal Centre, Svetlana Cameron represents a bridge between classical artistry and modern portraiture. We sat down with her to explore her artistic journey and dedication to reviving historical painting techniques.

Svetlana, your journey from linguistics student to internationally acclaimed portrait artist is truly remarkable. Can you share what initially drew you to abandon your career path and dedicate yourself entirely to reviving Renaissance painting techniques?

I did not know about my special abilities until I enrolled in academic drawing course, just a personal accomplishment without any idea how it would transform my life. I was approaching my mid-20s. A recent graduate with a Masters degree in languages (English, German and Russian) and art history, I worked as a translator in a news agency and as an interpreter and guide at the national art museums. 

When my tutor said that I had an artistic talent of rare quality which could not be ignored, I was skeptical at first, but continued to draw with more enthusiasm. Soon I moved to an advanced level, and the following year travelled to Italy to learn classical portrait painting techniques at the Florence Academy of Art. The total immersion in Renaissance traditions and practices became the point of no return. I felt like I arrived home! It gave me a clear sense of purpose and direction, and a boost of inspiration which continues to fuel my career for two decades now. 

Around the same time, I became engaged to an English man, we soon got married and settled permanently in the UK. Thus my portrait painting career began and flourished in England, and I became known internationally as a ‘Russian-born British artist’. 

Your multicultural background, born in Ukraine, raised in Latvia, Slovakia, Czech Republic and Russia, trained in Italy, and flourishing in Britain, is fascinating. How has this geographic and cultural journey influenced your artistic identity and approach to capturing your subjects?

My ‘nomadic’ childhood has shaped both my personality and artistic identity. When you have to start a new life over and over again, it makes you adaptable, you learn to read people and make connections. This made me curious about other cultures and sparked my interest in languages.

As for my artistic identity, I grew up in the environment where traditional skill-based art was held in high regard, and there was very little influence from the Western world. My tastes and ideas shaped in childhood got reinforced by the classical training I received in Florence. It resulted in a solid system of values that was hard to shake: I knew exactly what kind of art I wanted to create and why.

That clarity helped me to survive the turbulent early years in London when I was trying to find my place on the art scene. Presented with my portfolio, gallerists and art professionals were shaking their heads and advising me to change my style if I wanted to be taken seriously. Discouraged at first, I persevered with a stubborn dedication, fueled by my desire to remain true to myself and to stand out for ‘the right reasons’. Things began to turn my way when I stopped trying to fit in the galleries and discovered how to work with private clients directly.

Receiving the Leonardo da Vinci Prize in Florence must have felt like coming full circle from your early training at Florence Academy of Art. What did that recognition mean to you personally, and how has it impacted your career trajectory?

I had two full circle experiences in the last few years. The Leonardo da Vinci Prize in Florence and this year’s portrait commission from the Vatican. It gave me a new level of confidence: I felt like the Universe was saying to me: ‘You are on the right path, keep going!’

You trained in traditional techniques that few artists use today. What made you fall in love with that way of working, and why do you think it still matters now?

Realism is often misunderstood as art of imitation, but when used competently and creatively it becomes a truly powerful way of expression. Art is a form of communication between the artist and the viewer, and it uses a visual language which has its own vocabulary, composition rules and stylistic devises. If the meaning of a painting cannot be understood without an elaborate verbal explanation, it means the artwork is weak in terms of visual communication. 

Realism on the other hand speaks a universal language which can communicate with people’s hearts and minds directly without the help of art critics. That’s why Old Masters works we see in museums have such magnetic effect: they are above trends, their symbolism and narratives transcend time, cultures and borders.

Besides, realism is an honest type of art where there are no gimmicks, and an artist’s skill (or lack of it) is evident even to an untrained eye – qualities that appeal to me and many discerning art lovers and collectors.

Many artists struggle with the business side of their careers. How have you grown your reputation and client base, while staying true to your craft?

At first, I tried the conventional path: trying to join art societies and approaching galleries. Confused by mixed feedback and unpredictable results, I shared my frustration with a portrait client, a successful businessman. He gave me advice which changed my perspective. ‘If a door doesn’t open, it does not mean that you are not good enough, it may mean that you are knocking at a wrong door’, he said. ‘Do not tie your value as an artist to external validation by galleries. Your art speaks for itself and you do not need anyone to approve or represent you. What you need is to establish who your ideal clients are, and then present yourself and show your art to them in ways that make lasting impressions.’

That conversation re-directed my efforts. Instead of waiting to be ‘discovered’, I took charge of my career and became my own manager and PR director. Instead of approaching art galleries I focused on networking and business collaborations. My consistent efforts applied strategically over many years opened many doors. I now have my own high-quality business network and client base stretching across the British Isles and Europe and reaching as far as the Middle East and Japan. 

Your work requires extraordinary patience, some portraits take months to complete. In a world that values speed and instant results, what does slowness mean to you as an artist and entrepreneur?

Ability to slow down and not rush the process was an essential skill I had to learn as part of my art training. At first it felt frustrating because it seemed like nothing was happening, but over time I learnt how to switch on my patient mode and get myself in the state of flow. After years of practice, it becomes part of your identity: you become the kind of artist who does not rush or take shortcuts, and works as long as it takes to achieve the desired effect. 

Naturally, my time-consuming technique limits the number of portraits I can create, but that is not necessarily a bad thing. I’ve learnt how to grow my career in a vertical direction by moving up to the higher level clients, instead of trying to scale up my output and becoming available to a wider audience.

As someone who’s carved out a rare niche in classical portraiture, do you see yourself as part of a larger movement to revive timeless craftsmanship? Or are you more focused on creating a legacy that stands apart from trends altogether?

My mission as I define it, is to revive timeless craftsmanship and leave a legacy which says something about us as a culture. It gives me a special sense of purpose when I know that my artworks continue established portraiture traditions, and will become heirlooms cherished as part of a family or institutional heritage. 

Where can people see your artworks? 

Every year in spring I exhibit at the Mall Galleries in London with the Society of Graphic Fine Art – the UK national drawing society. I also regularly show examples of my art at events at London’s private members clubs, company offices, private classical music concerts, and at my own art studio set in the garden of my family home in East Sussex.

Anyone interested in attending my future exhibitions and events is welcome to contact me via my official website www.svetlanacameron.com or my Instagram @svetlana.cameron, and I will be happy to send them an invitation. Thank you for your interest!