I thought it might be interesting to show the evolution of a black and white photo and a quick oil study on paper to an an oil painting on linen panel. This is a big panel for a portrait and I generally don't do portraits larger than life size. I remember someone telling me that once - perhaps in a workshop. But this portrait demanded a larger painting surface and when I feel that way, I usually chose to go with my instincts. Some subjects just demand to be painted larger for some reason. Using my quick study from yesterday and the Degas photo on my monitor I began laying in the likeness using burnt umber with some mineral spirits on a toned panel. I use my brush to determine angles and relationships and put in my darkest areas as I go along.
This is the same stage as above a little closer.
Here I had completed the oil sketch and began putting in the lightest lights.
I work all around the painting, correcting the likeness, making color choices and determining the middle tone value relationships as I paint.
This is where I left Degas today. I will look at him tomorrow and correct any glaring errors and decide if I want to bring the background to a higher level of finish. Click on the photo to see a larger and sharper image. This was a challenge to paint as the reference photo was in black and white - but I love a challenge and am reasonably happy with this result. Thank you so much for looking and I appreciate all thoughts and comments!
Susan, I truly enjoyed seeing your process.
ReplyDeleteYou are always so kind in showing your watercolors as they develop and so you inspired me to do likewise, Kathryn :)!
DeleteWonderful to see your process!
ReplyDeleteThanks, Judy. I really enjoyed doing the initial oil drawing before laying in the color.
DeleteI always find it interesting to watch how another artist goes about constructing a painting. You did a very nice job with him. I'm sure Degas would be proud! Just think in another 100 years, someone might be painting you!
ReplyDeleteHi, Susan - I am always interested to see how other artists work as well. We all have our unique approaches and there is no right or wrong way - whatever works is the best way! I was intrigued by this final photo of Degas - I believe he was in his 80's. The photo demanded to be painted!
DeleteGreat sequence, Susan ... you make it look easy, usually the sign of an expert.
ReplyDeleteThanks, John - certainly not an expert. Just a forever student striving always to better myself.
DeleteThe word brilliant comes to mind. Thanks for the demo - loved it.
ReplyDeleteThanks so much, Julie. You are way too kind!
DeleteI really enjoyed your presentation. I found it interesting that you put the lightest values in first. With oils, I always thought you worked from dark to light. Then I've read some begin with the middle tones. I think light, dark, midtones might be an easier method for finding the midtones? Food for thought. Thank you Susan.
ReplyDeleteSusan, I really enjoyed seeing the process, your work is outstanding. Looking forward to seeing Degas completed.
ReplyDeleteWow, thank you for sharing your process. I have worked in oil but I'm concentrating on watercolour right now. Your post makes me miss oil a lot. It's just a beautiful painting. You've got a great eye seeing all the nuances. The flesh colour you had to 'make up' is terrific.
ReplyDeleteHave a great week.
you are an amazing talent
ReplyDeleteI agree with all the above, very interesting to see the progress.
ReplyDeleteAnd you caught the similarity. How often the painting copies every detail, but the expression or smth individual keeps missing. Definitely not this case.
You made an awesome job...great similarity, and thanks for showing the steps, always interesting !
ReplyDeleteFor some unknown reason, my computer will no longer let me reply individually to each comment. Very strange.
ReplyDeleteLinda, I really have no formula for painting in oil. Each subject demands its own approach. In some cases, I don't even do the initial oil sketch but just jump right in with color and shape. Light to dark or dark to light is not something I generally consider. I am slightly embarrassed to say, I usually just begin painting - more by instinct than anything else. I beleive my process is to mentally consider the subject until I can kind of visualize it as a painting in my mind. After that, I simply go with the flow!
Hi, Joan and thank you for stopping by. I think I will let him be for now :).
ReplyDeleteThanks, Nora. I enjoy watercolor but have oil paint in my blood stream I think!
Many thanks, Ashok - I am enjoying your paintings with poster paint as well!
Thanks, Irina - much appreciated!
Hi, Jane, I so appreciate your comment and glad you enjoyed seeing the process.
SO interesting, Susan...thank you for that demo..it's wonderful to see the process. Your work is amazing as always...I can't wait to see this piece finished....
ReplyDeleteCiao,
ReplyDeletebellissimo il ritratto di Degas, come tutti i tuoi lavori! Degas ha un'aria quasi smarrita...come di chi è perplesso su ciò che gli sta intorno e nello stesso tempo mostra la saggezza dei suoi anni...
Ciao, ciao, Floriana
Hilda, thanks so much for stopping by and cmmenting - much apprciated.
ReplyDeleteFloriana, I had the feeling as I painted him that he was deep in thought - those thoughts mostly going back to his youth and his accomplishments. I like your insightful comment very much!
Belo trabalho...Espectacular....
ReplyDeleteCumprimentos
Many thanks, Chana - I appreciate your kind words!
ReplyDeleteThanks for your 'tutorial' ....clear and basic. Makes we want to try a portrait; haven't done them.
ReplyDeleteThanks for stopping by, Mary. I do encourage you to try a portrait - you might be hooked. I looked at your site and love your work - especially the abstract still lifes. They are so interesting and well done.
Delete