You’ve seen paintings painted 100 years ago or even more. Typically there is a narrow color range, certain brush work, limited contrast, certain poses and even a certain expressions. That’s what I was attempting with this painting. Hence I named her Lady Byron.
we had the best time ever during her photo shoot. She told me she had been practicing poses for years while yearning for such an occasion. She went from one pose to another in rapid succession. Top Model never had is so good. I’m only giving you the simplified head shot version. Her actual hair was more like the color below – a red burgundy and she had plenty of it.
Below is a a second portrait painted from a reference image I really like. I like the image he because of its varied and interesting shapes and angles. I painted it fast and loose which was fun.
I remember vividly her portrait session. She wanted pretty and sexy photos to send to her husband away in the military. I always requested additional poses for my photo collection. I’ve been looking at this reference photo for a while now. In addition to the complexity of the face, It also featured both hands and the lamp. I decided I was ready to give it a try and I’m glad I did. I even very purposely left texture in the brush strokes of her skin. I didn’t want it to look like a photograph. When paintings are viewed at a distance, even 5 or 6 feet, a modest amount of brush texture mostly becomes invisible.
Hope everyone is having a great New Year. I came upon the reference image for this painting recently and and knew I wound enjoy painting such a classic and somber pose. I particularly loved the curve of of her neck and body. I did exaggerate and alter colors a bit.
I promised you another “bold” stroke painting this week and I thought that would be the case, but as we’ve seen before, I had little control over my hands. The reference image for this painting was taken in my studio 10 years ago or more. She was a lovely model and fancily dressed. I added the bow to her hair and altered the detail trim of her dress to mimic the hair bow style – just to loosen things up a bit. She was from Eastern Europe and came with beautiful long dresses for her photo shoot. Below:
I don’t have Poinsettias but decided a painting of red roses is an appropriate image for almost any holiday occasion. I wish everyone a very MERRY CHRISTMAS and a loving holiday season. Thank you so much for being part of my painting journey. You inspire me. Winifred
I’m “busting loose” with these 3 paintings. I remember watching painters on YouTube as they confidently placed individual brush strokes to create form color and texture. Really, they place one brushstroke then step back 6 to 10 feet to observe, then walk back to the easel to place another. They didn’t smooth, or “lick the paint” it is called, when dabbing at the paint un-assuredly, to try achieve a form. I so wanted to be able to do achieve that. Well, I must say I’m getting closer. These paintings were really fun. The idea is that at a point in time, decide your objective – perhaps to add a shadow under the chin – then put down a stroke and leave it alone. Then place another discrete stroke. Don’t keep dabbing at it trying to fix it or make it “pretty”. Don’t blend the color – allow the paint to be paint. Show the brushstrokes. I love the juicy paint texture. Well, that’s what I did with these paintings anyway. I find them exciting and energetic. I didn’t step back 6 feet after a single brushstroke but I may try that. I also found that by the time I got to the third painting I found myself trying to refine too much, I was being drawn back into concern to create a likeness, when that was not my original objective. It has actually been a longer learning journey to paint in this fashion than to paint in a super realistic fashion. After all, If I want the likeness of a person in a photograph, I have most of the information right in front of me. These paintings require an abstracted interpretation of the photo, and a level of confidence in each abstract brushstroke. I’ll be trying more in the future – and larger – after I finish a more traditional portrait which I’ve almost finished.
Whatever you chose to celebrate, HAPPY HOLIDAYS TO ALL. Winifred
There are Rules for creating copies of a Master’s Paintings. Such paintings are referred to as “master copies or master studies”. I would refer to my work on this page as studies. I wouldn’t quite elevate them as “copies”. I didn’t actually make such an attempt. The rules, however are number one, not to make the study/copy the same size/dimensions as the original painting. That is flat out considered FRAUD! The other rule is to put on the front of the painting “After … and the artist name” as I did here. There is debate as to whether or not such paintings can then legitimately be sold, though there does not seem to be a big problem with that so long as the first two rules are followed. This is my first attempt at a master study.
In Europe, the first years of an art students study is primarily making master copies. If you’ve been to the the Louvre in Paris, you have do doubt seen students sitting if front of some of the great paintings of the ages attempting to make copies. I am told that after years of this kind of work, the students are allowed, only then, to make original paintings. It’s hard for me to imagine. I am also told that this kind of study is beginning to occur more and more in the USA. I guess I’m beginning to see the point. After my first two weeks of effort trying to paint from bad internet copies and book print copy – which is poor quality also, I would love to have an original work as a reference. There is value in observing and intensely studying the design, brushwork, color palette and values structure of great paintings.
Gauguin is one of my favorite painters. I love his colors and the design of his paintings. He primarily creates yellow and orange highlights and blue to purple shadows. He intermixes that with bright reds and vivid greens. He’s a genius colorist as was Van Gogh. I chose the painting above to paint, honestly, because it was simple! When Gauguin’s mother died, he was far far away in Tahiti. He had only this one photo of her taken when she was a girl and so that was his reference. His paintings are normally very complex with multiple people in the foreground and landscape scenes in the background. As a study, however, I can choose any part of his painting – not necessarily the whole thing.
Below: I also love Renoir’s portraits, though I certainly found this style of painting pretty hard to do.
There are no smooth areas of paint or color. The small brushstrokes are constantly changing in hue, value and direction. I made an effort toward some level of accuracy on her face, hair, body and dress, but not with the background. You can look her up (Renoir Portrait Painting of Jeanne Samary) if interested to judge how I did with my first impressionist portrait study. Don’t forget there are many different color versions of this painting due to the manner in which it is copied and displayed. So many times I gave myself permission to quit – after all, it was only a study. It’s funny, when I did so, this seems to give me the stamina to keep going a bit more. It will be interesting at some point to see if I can use these techniques on a reference photo which I have taken.
It’s also interesting that the two study references have opposite characteristics. Gauguin uses relatively large flat smooth paint areas whereas Renoir has constantly varying brushstrokes and textured surface areas. I love both.
Have a very wonderful day. Winifred
Above, for the most part, I focus on tones and contrast and expression in my portraits. I use very little color. That surprises me but as I look at any group of my portraits paintings that is what I see and I’m fine with that.
Below: On rare occasions, color takes over.
It’s more so the color of my imagination rather than from the reference. This photo image by Daphne and Art Carlyle. It’s fun to paint little figurative images like this, as opposed to “serious” portraits because I feel comfortable in focusing less on accuracy and details. I enjoyed creating the color and loose textured brush strokes.
Yesterday and today it snowed – just enough to be pretty! Very little is left. The scene below was taken about midnight from my balcony.
I hope to create many more paintings in this style. It feels a bit riskier than painting in a more traditional style but it is exciting to try. I think you can see why this style of painting receives the name Abstract Realism.
Below is an image painted in a traditional style. It’s just “Realism” and it’s primarily the style in which I paint. It was painted a couple weeks prior to the one above. Perhaps the painting surface is a bit too textured, though I like it nonetheless. The reference photo used was created by photographer Jim Lasala, during his trip to Haiti after the 2010 earthquake where there was major devastation left in it’s wake.
Below: I thought it would also be fun for you to see the digital painting I created from the same image many years ago as she might have imagined herself in a dream.
It’s always a challenge and a joy to paint a portrait. Of course you know my tendency is toward realism – and so it is. I enjoy her elegance in the red draped fabric – and the tiny hint of a smile.
Finally, it has begun to cool and to rain a little. I cannot ever remember such a warm and dry fall as we’ve had. It’s been really lovely. Watering plants has come to an end. The time will change in a week or so to Daylight Savings Time. I thought this had ended legislatively but I am obviously wrong. It will become dark very early – 5pm, even 4:30 by December. I’ll continue to tuck myself in my studio and paint. It’s a creative and restful time for me. I hope the same for you. Winifred