Robert McCurdy positioned Obama against a white backdrop to personalise him

Barack Obama was shown by Robert McCurdy on a stark white backdrop in order to create a personal connection between the subject and the observer.

White backgrounds are a trademark of McCurdy’s painting technique, which distinguishes it from more conventional presidential portraits.

“Because we’re not here to convey the tale of the person who is sitting for them, they have simple white backdrops, no one makes motions, and there are no props. To facilitate a meeting between the viewer and the sitter, “In an interview with the White House Historical Association, McCurdy noted.

Each and every spectator will bring a unique emotional and historical bundle to that particular moment.

Small elements like the creases on Obama’s coat are shown in depth in McCurdy’s hyper-realistic painting.

“I like Robert’s paintings because he captures people as they really are, flaws and all. Every crease on your shirt, every furrow in your brow, every furrow in your brow, “Obama stated during the White House dedication ceremony.

“You’ll see that he made no attempt to cover up my grey hairs. refused to shrink my ears as I asked. By the way, he also convinced me against donning a tan suit.”

If you look carefully, you can also see the former president’s grey hair.

While in office, presidents often experience rapid ageing.

Michelle Obama was seated in Sharon Sprung’s painting rather than standing.

She doesn’t need dignity, Sprung said in an interview with the White House Historical Association. “I was going to do her standing to give it a certain dignity, but she doesn’t need dignity,” Sprung said. She exudes such dignity that I chose to do the action while seated.

Though she really posed for her portrait in the Blue Room, she is seen seated on a piece of furniture from the White House’s Red Room.

The Blue Room had superior lighting, so I ordered them to transfer the furnishings from the Red Room.

Michelle’s clothing was illuminated with additional light.

Sprung said that “any tiny moment in a picture changes things.” “I worked on the dress and then I worked on the light on the dress, and everything changed.”

The Obamas are seen gazing straight at the observer in both pictures.

According to Stewart McLaurin, head of the White House Historical Association, “the eyes of these images, gazing straight at the person looking at them, I believe it is a really intimate interaction.”