Love is Never Alone, Canvas & Fine Art Prints by Akiane Kramarik

Regular price
$ 189.00


This archival quality print on canvas is an exquisite reproduction of Akiane’s original and first commissioned painting titled "Love is Never Alone" painted at age 13. The canvas is printed by...
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This archival quality print on canvas is an exquisite reproduction of Akiane’s original and first commissioned painting titled "Love is Never Alone" painted at age 13.

The canvas is printed by Akiane's  master printer and approved by Akiane to insure the highest color accuracy – this type of print is called a "Giclée” and is often mistaken for an original painting!

A treasure to own or receive as a gift! 

Original Inquiry   Original Size of "Love is Never Alone"  48" x 60" - Private Collection
Limited Edition    Restricted number printed  - Signed, Sizes Available 
Open Edition       Printed in larger quantities - Unsigned, Sizes Available 

About "Love is Never Alone" Fine Art Canvas Giclée Prints

  • - Limited Edition Canvas 
    • - Includes Painting Certificate of Authenticity
    • - Canvas is Signed & Numbered by Akiane
  • - Open Edition Canvas
    • - Canvas in not signed on open editions
  • -  Original Art Inquiry
  • -  About Giclée Canvas
  • Canvas Shipping & Delivery
    • - All canvas are insured when shipped
    • - Tracking Number is provided
    • - Allow 4 weeks in USA shipping
    • - Allow 6 weeks for international shipping
    • - Subject to destination country tariffs


Akiane says this about her first commissioned painting  "Love is Never Alone"


When I was first asked, if I ever wanted to paint Bill and Carol, I immediately got excited, because of two reasons: first and foremost, because of the great artistic challenge: my first likeness commission work. Second, because of my admiration and respect for them: they are a beautiful, generous and loving couple. Third, but not least, we had something close in common: our passion for art.

Out of many possible poses I chose the scene showing the intimacy and contrast of their relationship.

From my inquiries and conversations I found out that Carol spends a lot of time in prayer, meditation, and cultivating relationships, so I depicted her looking up peacefully; as if focusing more on spiritual matters.

Bill's gaze is downwards; he looks after the family by being more grounded and down to earth. He balances his family by its immediate needs he finds on hand and the world. For example, he loves fishing and business investments of precious metals, art and real estate, all, literally, grounded; silver, gold, and gems come out of the earth, homes stand on the ground, paints are made from the ground substances, linen woven from the flax is grown in the fields, and fish swim in the streams and rivers.

From my personal observation, they both are really happy together. I wrote LOVE IS NEVER ALONE on Carol's bracelet to represent their love, care and bond for each other. No matter what challenges, being in love is being together. They hold on to each other for comfort on the banks of the fast flowing river at sunset, with warm rays of the setting sun reflecting off their smiles. They whisper to each other something special, something meant only for each other.

The river represents life, always changing and always unpredictable. And the river is the place to forget all the worries of the world.

The shadows on one side of their faces represent their difficult past when they still did not know each other. But it is their lessons from the past what makes them stronger today and appreciate each other more.


I will first start with somewhat humorous and embarrassing episode. Our family was trying to document the development of this story by photographing it daily. But at the end of my two hundred and fifty hours of painting, my father suddenly realized he had completely forgotten to put film in our camera.

And I, on the other hand, forgot to write down day to day changes I was making. Since I usually cannot remember every detail I work on, and failed to record it, let me now describe what could have been seen, had the film been in the camera, or had anyone been in my studio every day.

Initially, I assumed that it would be extremely difficult painting, because it was the very first commissioned work where the likeness was not optional.

I immediately started painting the proportions right on the linen, and soon the form and features drastically shifted as if there were clay. From the first day on, I started with both major mistakes and major victories.

When the painting process continued, the details of multiple layers accumulated, and so did the errors. I decided to apply hundreds of coats of acrylic paint to create life-like personalities.

I know, it will sound a little strange, but probably, the painting became super realistic, because by making thousands of mistakes the accurate lines started outnumbering the immature lines, and this way the portrait was born. Certain immaturely applied shadows, lines and hues were annoying to my eye, until I could recognize Bill and Carol through meticulous focus on their character.

That reminds me of life experiences. We make mistakes every day, because we do not know what exactly each day brings and how to live every moment perfectly. But we make more good decisions every day than bad ones. And that's what makes a difference in our lives.

My approach to painting is similar: I am not afraid of making and correcting the errors, but I do have to have a clear mirror to see them. The mirror is my teacher and pseudo friend. It is so quiet in my studio. Even though I listen to different radio stations, there is no one to interact with me at 4 AM. So, the mirror corrects my perception and perspective on the reality. In a way, it becomes my second pair of eyes.

I was also very fortunate to be able to meet the collectors a few times before I had to portray their emotions. That helped me to understand their natural reactions and expressions.

This painting is unlike any other. Even though there were no expectations on the part of the collectors, what the finished portrait should look like, and I was given total freedom of expression, I was thrilled to embark upon an unknown territory to produce a super likeness of those I personally knew. It became my personal challenge.

Before this commission work, in all other paintings, I allowed myself total freedom of exaggerating and altering the facial features for my creations. For this project, I decided to remember the tiniest nuances of their personalities; the tone of skin, the hue of the hair, the personal gestures and glance.

For example, Carol, who usually wears thick glasses, gave an impression of having really large, attractive and penetrating eyes. So I painted them the same size as if she was wearing the magnifying glasses, but without actual glasses painted. I believe, this is how we all remember her eyes - exquisitely impressive.

I also had fun time digging into the very details of their extraordinary hair; Bill's - cool white thick strands, Carol's – long, silky, smooth and autumn scented hair. I typically do not see the hair like that, so my emphasis was its rare texture. Specifically paying extra attention on each individual hair I hoped to develop uniqueness of the pure, healthy and mature look.

I also was careful not to emphasize Carol's make-up finally deciding to paint her without it: natural color lips, eyelashes, eyebrows and flesh. This way, I matched her gently graying hair with softly maturing face.

In general, I had huge pitfalls in reaching her likeness in the middle of my painting process. But I fixed my problem by correcting the shape of her lips and nose. In my observation, Carol's usual expression is that of a tender and calm smile, so this is the way I had to portray it. Usually, if the lips or the nose are even slightly off the course, the whole portrait looks deformed. True likeness, ultimately, depends on the precision and symmetry of not just separate face parts, but their exact combination.

Knowing that Mr. Corneliuson is color-blind, I purposefully chose the palette of colors in the painting that he, too, could recognize and appreciate. When I first started painting Bill, I immediately felt that I got his likeness, and only during the fifth week of work lost it, at the same time as I was gaining likeness of his wife. It was a strange tug of war painting. During the first days I achieved the general likeness of both Bill and Carol, but as the details piled up, one of them always presented more challenge for me until the very end.

But, by far, Bill was the easiest to paint, maybe because I was not inhibited of showing the natural aging through intricate web of wrinkles, dimples, pores, spots, capillaries, and freckles. His skin tone reminded me of someone who likes spending much time outdoors in the sun and wind, so I specifically emphasized his radiant complexion for his busy forehead, prominent and masculine nose, and strong chin.

I was somewhat hesitant to be so bold with skin details for Carol, although, originally, I had painted her in the same fashion as her husband, but only later on put a thin paint wash over the skin to smooth it out. As a young lady myself, I can understand the clash of realism of life and realism of painting. After all, we, ladies, like everything flawless on our faces.

Since the favorite clothing color for Carol Corneliuson is black, I decided that her husband, too, should be in black, that's why for the first sitting session I had arranged them both to wear black outfits to contrast them against their light hair.

For the final touches I warmed the black sweaters with burnt umber hues to match the flesh tone. But I quickly decided against the details. The whole focus had to be the faces and the hand, and the details of the costumes would have only distracted from the story.

I also debated whether to have both of their hands or only one hand on the painting. Finally, I chose only one hand for a simple reason: I was planning to put on one of Carol's favorite precious stones, diamonds, inside her wedding ring and, since I wanted the attention only on the diamonds and the hand, anything else would have diverted it. I searched for the highest quality diamonds to attach to the ring, but what we found was something much better: the rarest of all diamonds – rough diamonds from the eighteen hundreds, from an antique artifact that was verified by our local gemologist to be priceless, because it is virtually impossible to find anything like that. It was the final mystery touch ~the final little surprise.

And ultimately… the family portrait came to life…and came into a new hom

Akiane Kramarik



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