Saturday, October 14, 2006

Release painting - week 4

Work continues on my painting of hands called "Release." This is the second flesh and third background layer. It is by no means finished, but it is becoming more what I envisioned when I started it. The most important thing is that I am learning how to mix the flesh colors. I am also appreciating the style and technique of the old masters. I have a book on Flemish and Venetian painting that I am trying to find time to read.

I had to set the daily paintings aside for a few days to work on this and a few other larger paintings. After doing a few daily paintings with their "quick" nature, I really appreciate going back to my other pieces with layers. It's led me to realize that daily paintings can never be more than quick studies for me. No matter how much I work them over, I can't get a lot of depth. They are simply direct, immediate impressions of a subject at hand.

It helps if I try to think like Vincent Van Gogh did when he was painting. Or at least how I think he might have been thinking! He was a direct daily painter, if ever there was one. His brushstrokes were thick, confident and colorful. Many of his paintings were completed in one day. Aaahhh, if I could only do the same. Funny how someone who's life was miserable by most standards today has become a role model, of sorts. At least for me. He and Georgia O'Keefe. They never compromised their standards. They always stayed true to their vision. If only I could do the same. Life is more complicated today than when they painted, but I'm sure that the essence of painting remains the same.


Jon Conkey said...

Nice idea for a painting, delightfully sensitive; great work! JLC

Bonnie G Morrow said...

Wonderful! I love the feelings I get from your hands - beautiful! Thank you for sharing such a lovely work!

June Parrish Cookson said...

Beautiful! Love the delicacy of the hands which conveys the viewer to wonder what is happening between the two people.

Nancy H-T said...

My recipe for (white people!) flesh tones is based on white, yellow ochre (or Naples Yellow) and Alizarin crimson (just a touch!) For shading I have relied on sap green, cerulean blue or violet: depends on the lighting. A bit of cerulean in the highlights works sometimes too.

Mind you it has been a while since I painted flesh.

Alexander Barnett said...

Since you are interested in Vincent’s life and work, you might want to look at the Notes section on I am the writer and director of the new independent film on his life.