The Quiet Triumph of Lizet Dingemans: Why Her National Portrait Gallery Selection Matters More Than You Think
When I first heard that Stroud-based artist Lizet Dingemans had been selected for the 2026 Herbert Smith Freehills Kramer Portrait Award, my initial reaction was, “Of course she was.” Not because the competition isn’t fiercely competitive—it is, with nearly 1,500 entries from 63 countries—but because Dingemans’ work has always felt like it was destined for this kind of recognition. What makes this particularly fascinating is how her journey challenges the stereotype of the struggling artist. She’s not just a painter; she’s a tutor, a commissioned creator for major productions like Young Sherlock, and a fixture in prestigious collections like the MEAM in Barcelona. This isn’t just a win for her—it’s a win for the idea that artistry and practicality can coexist.
The Portrait That Stopped the Jury in Its Tracks
Her oil painting of professional model Mark Turner is, in my opinion, a masterclass in subtlety. Dingemans describes Turner as having a “calm presence,” and that’s exactly what the portrait captures—a stillness that feels almost meditative. What many people don’t realize is how difficult it is to translate tranquility onto canvas. It’s not about dramatic brushstrokes or bold colors; it’s about restraint, about knowing when to stop. This piece isn’t shouting for attention—it’s inviting you to linger. And in a world where art often feels like it’s competing for the loudest voice, that’s a rare and powerful choice.
Why the National Portrait Gallery Matters (and Why It’s Not Just About Prestige)
Being selected for the National Portrait Gallery is, without question, a career-defining moment. But what this really suggests is that portraiture itself is having a moment. In an age dominated by selfies and AI-generated images, the fact that a traditional oil painting can still captivate a global audience is both surprising and deeply reassuring. From my perspective, Dingemans’ inclusion isn’t just a personal victory—it’s a statement about the enduring relevance of human craftsmanship. It’s also worth noting that the exhibition is free, which raises a deeper question: How can we make art more accessible without diminishing its value?
The Stroud Connection: A Hidden Hub of Artistic Talent
One thing that immediately stands out is Dingemans’ role as head tutor at Raw Umber Studios in Stroud. This isn’t just a quaint detail—it’s a reminder that artistic excellence isn’t confined to major cities. Stroud, a town often overlooked in conversations about the UK’s cultural landscape, is quietly becoming a breeding ground for talent. Personally, I think this speaks to a larger trend: the decentralization of art. With the rise of online platforms and regional studios, artists no longer need to relocate to London or New York to thrive. Dingemans’ success is a testament to that shift.
What’s Next? The Future of Portraiture and Dingemans’ Role in It
If you take a step back and think about it, Dingemans’ career trajectory is a blueprint for modern artists. She’s not just painting; she’s teaching, exhibiting, and collaborating across mediums. Her work for Young Sherlock and her appearances on Sky Arts show that she’s not afraid to step outside the gallery walls. This raises a deeper question: As technology continues to reshape art, what will the role of the portrait painter be? Will it become a niche craft, or will artists like Dingemans find new ways to keep it relevant? A detail that I find especially interesting is her ability to balance tradition with innovation. She’s not abandoning classical techniques, but she’s also not afraid to experiment.
Final Thoughts: Why This Story Resonates
In a world where success is often measured in viral moments and overnight fame, Lizet Dingemans’ story is a refreshing reminder of the value of steady, intentional work. Her selection for the National Portrait Gallery isn’t just a personal achievement—it’s a celebration of patience, skill, and the quiet power of observation. What this really suggests is that art, at its best, is a conversation between the artist and the viewer. And in Dingemans’ case, that conversation is one worth having.
So, if you’re in London before October 7, or in Derby or Winchester next year, do yourself a favor: go see her work. Not because it’s prestigious, but because it’s honest. And in a world that often feels anything but, that’s something worth celebrating.
