I started this painting about 3 years ago , I think . It took me a bit of thought to figure out what I wanted to add towards the bottom of the frame. The flowers from our garden seemed and felt right moving across from right to left. I think the shadow side of her face is a wee bit dark and I plan to lighten that area a bit.
Allison asked ...How did you go about working on an older painting? I ask because I have a "ghost" in my studio I'd like to work on. Oil.
Allison , I have kinda gotten back to my roots so to speak. My old art teacher Theodore Lukits talked about how it was important to have several paintings going on at once. That way if you felt you needed a break or if you lost interest or were stuck with how to proceed ( which was the case with Jana's painting ) you could keep your energy level going by jumping on to another painting.... but in the back of your mind you were letting the paintings ferment in your mind and heart. Then when you addressed the painting again, you could " attack" it so to speak with the same enthusiasm and energy that made you want to paint it in the first place. I have 3 paintings going on at the same time and I saw a video of Gottfreid Helnwein paint several paintings all at the same time and he had castors on his taboret so that he could move his gear from one painting to the next. He reminded me of what Lukits said and it feels right to me as well as intelectually giving your brain a vacation from said roadblock.
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Looks great!
ReplyDeleteHow did you go about working on an older painting? I ask because I have a "ghost" in my studio I'd like to work on. Oil.
Allison ... Great question. I will answer you on the post.....
ReplyDeleteI totally agree with your art teacher. I like to jump around with different projects. I think it keeps me excited about them and they feel fresh. Love the painting of Jana.
ReplyDeleteThis is so beautiful of your wife Frank! Your teacher gave the best answer which you articulated so well for Allison, and it's the way that works the best for me too. I think it works well for me partly because success on another painting builds the confidence, too, which I need to feel to return to the original painting and sort it through.
ReplyDeleteMona ... spot on .... in fact ... going to another painting has kept me from ruining a good painting. Frustration can creep in and it is so easy to take it out on the canvas in front of you. So its a healthy thing to switch gears and rediscover another painting ....
ReplyDeleteHard to believe you ever feel any frustration, Frank!
ReplyDeleteInteresting post and comment thread as well. -- Thanks!
Hey Frank, I have castors on my taboret but only one easel!! I think the portrit ofjan looks great the way it is. I really like how you squeeze in vivid blues, greens and violets into you fleshtones which makes whatever you do...look right. When you squint at it, the structure of her face really shows and reads well on the right side which is what Rembrandt used to do with his dramatic lighting. He would paint only half a face all the time and viewers never missed whatever was in the shadows. Is this the painting that I was drooling over that had the shadowed arms and hands? You really added a lot of light to them. Do you have a before picture to post?
ReplyDeleteMick
I agree that your use of colorful fleshtones is really great and special- not to mention that you capture the personality well too!
ReplyDeleteShe looks very thoughtful, maybe even a little wistful. It's a beautiful painting. :)
ReplyDeleteAbsolutely beautiful play of soft light.
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