Patricia

[AndyfromVienna]

hey friends,

once again I am presenting of my works painted in a classical style, imprimitura, grisaille-underpainting and so on. I chose a very difficult lightsource light coming partly from underneath. it is an x-post from the portraiture forum.

c&c always welcome!

cheers

Andy

[benchs]

This is a fine piece of
work Andy

[azulparsnip]

lovely Andy, the lighting really goes well with her subtile expression and delicate hand and hair action......beautiful forms on the face.....congrats

[AndyfromVienna]

thanks again for your comments!!!!!

cheers

Andy

[ryster007]

Hi Andy

This is fabulous as always!

Maybe the folds in the dress closest to us (her left arm?) could have darker shadow?

Ryan

[AndyfromVienna]

hi Ryan,

you might have been right but I is sold already, thanks for the comment!!!

cheers

Andy

[ryster007]

Originally Posted by AndyfromVienna

hi Ryan,

you might have been right but I is sold already, thanks for the comment!!!

cheers

Andy

Then I was definitely wrong!

Congrats on the sale

Ryan

[GhettoDaveyHavok]

Sale? Awesome! This portrait is lovely!

[AndyfromVienna]

thanks a lot! It felt like losing a friend when I gave it away ...

cheers

Andy

Originally Posted by GhettoDaveyHavok

Sale? Awesome! This portrait is lovely!

[saintlukesguild]

A beautiful painting. The up from under lighting is not simple to capture, and you did so with what looks like deceptive ease. (One or two areas could use adjustment - if I was in your studio and kibitzing at the time.) But the whole has a subtle loveliness that is beguiling. The girl herself and the pose. Her eyes have a magnetic draw on the viewer that is Rembrandtian. He (and you have managed) was given to breaking perfect symmetry in a subject's eyes with the irises and pupils not projecting parallel lines at whatever direction and distance. The result was anyone in his portraits took on an inner person hood, an introspective substance, that belied any costume or props or "theme." You did this with this girl, and I can't pin point exactly how you did it. Very subtle. Better yet, the inner being introspective moment of her eyes is supported and enhanced by the delicate unconscious activity of her hands. This is a triumph of posing. So how did you do it? Take a variety of camera shots and select the one most compatible with your ever evolving artistic sensibility?

Speaking of.... I would love to see you take your burgeoning talent and interest a step further into the Old Master way. Increase the space surrounding your portrait subjects. Abandon all photography dictates and place your subject in balanced space on the canvas. Never allow body parts (except the waist) to be chopped out of the picture, such as this girl's elbows. The waist can dissolve into darkness at the bottom, as various Old Masters demonstrated many times, but the rest of the body was complete and unrestricted in surrounding space above the waist or groin or thereabouts. This means two things: if you use this model again for a triumphant pose, (man I hope you do), take long full shots before edging in for close ups, to have a reference for putting her in balanced and enhancing space on canvas; it also means you will have to cut your own canvas and stretch it, and spurn the uncompromising restrictions of commercially prepared dimensions. This is not as difficult as it sounds. I started doing this ten or so years ago, and will never go back to meekly obeying the four inch difference of height to width in a pre-stretched canvas to contain, in warped fashion, MYYYYYYYY artistic vision. Hell no.

Another suggestion. Here is a Vermeer trick I blandly steal in about ever portrait I do. The surrounding space abutting the directional light side of a face/sometimes body is dark, where as the space on the shaded side (our right of the girl here) is lighter than the dark side. How much darker and lighter is entirely in the artist's hands, but the effect is very very effective. My monitor shows you have done that to a slight degree in this painting. In the next one try this Vermeer trick to a higher degree - glaze and wipe off and experiment until you get it right. Balance, subtlety. The effect can be a mysterious warming and defining of the shaded side of the head without applying any paint light at all to the shaded side.

[AndyfromVienna]

im simply spellbound, thank you Luke. your believe me gives me wings I think....

I will follow your advices and I will naturally stay on the old masters' way, no doubt ...

thank you very much

Andy

[Vicky Darlene]

Very nice painting.. beautiful

[AndyfromVienna]

Originally Posted by softjewel

Very nice painting.. beautiful

thanks for looking and commenting, Victoria!

:-)

Andy

[carolkay]

Andy ~ its a fabulous portrait ! well done.

[rudiratlos44]

Mein lieber Scholly (wie man hier sagt). Was bist Du denn für einer. Da krieg ich ja Komplexe. Ein wunderbares Bild. Ich muss mal schauen, was Du noch so für "schlimme" Dinge angestellt hast. Es ist schon faszinierend, was man hier für Leute trifft. Ich habe keine Ahnung, aber du malst in altmeisterlicher Technik, richtig? Ich habe mich auf das Einfache eingelassen, im Stile von en plein air, also möglichst in einem Zug, Pinsel und Spachtel ... naja, Du hast meine Versuche ja schon gesehen. Ich bin im Innern ein Perfektionist, aber beim malen, da versuche ich was anderes. Weiß nicht, ob Du verstehst wie ich das meine. Ich freue mich auf weitere Meisterwerke von Dir.
Beste Grüße von einem neugewonnen Fan von Dir.
Rudi