Please excuse my long silence...sometimes blogging is not the highest priority.
Last week, I was fortunate to attended the Portrait Society of America's "Art of the Portrait" conference in Atlanta, Georgia, USA. The event was an education on the state of contemporary realism, figurative art, and portraiture...which are inextricably linked. Inspiring pieces in the winner's circle. I felt fortunate to see these pieces "live". Photos are such a poor substitute. The competition, which is international, compares favorably with the BP Awards and Royal Portrait Society, in my opinion. For more information on the event go here, here , and here.
Today's post includes some figures I painted last term in Erik Gist's "Figure in Oil" class. These were painted from life in 8 hours, so I consider them sketches. I used Harold Speed's value strategy, which I use for portraits, too. Briefly:
- Start with a charcoal or thin paint block-in. Nothing fancy here.
- Divide the figure into the big shapes of light, halftone, and shadow and paint those shapes with an average color for each.
- Adjust the edges (soft, hard, firm, lost).
- Finally, add the smaller planes and details.
|Rose on Orange, 20 x 16", oil on linen|
I also did some figure invention here, pushing the curve of the back on both models (Rose was actually hunched over...the pose needed improvement). Erik Gist is a master of figure invention, and helped me define the rib cage and upper hip areas in both paintings. This sort of improvisation requires knowledge of anatomy.
|Brianna with Shadow, 16 x 12", oil on linen|
The color scheme for "Rose on Orange" was inspired by a Sargent painting from his early studies in Italy. I'm still focused on accurate values, the art of color is somewhere in the future for me. When I need inspiration, I pick a painting and use that color scheme. Sort of a color master study...a good way to learn.
|La Gitana by John Singer Sargen|