"Doris"
 

This recently finished oil portrait of an old friend and fellow artist Doris B. She continues to teach music to young and old and best of all she likes my work. Though not young anymore I wanted her wonderful personality to be evident. Whatever you have to say will not matter as much as the fact she likes the painting and it will hang in a prominent spot above her mantle.

There's nothing to say, Jim, except that this is marvelously conceived and executed, so evocative of the subject's personality that I feel as though I've just been introduced to her in person (and I already like her, a lot!).

Very masterful. Congratulations.

Steven

Beautiful Jim! I love it! I think it's my favorite of yours now...we need to put it on your web site after the portrait shows.

What a great painting, Jim! Her warmth is indeed evident, congratulations!!

Jim, your colour choices were very obviously not accidental, as, for example, you've juxtaposed blue-violets against yellow-oranges. Would you share with us the thought processes that you went through to set up this very evocative and subject-friendly scenario? For the benefit of the rest of us, what were you working with, what did you have, and what did you intend to make of all of it? Did you work a lot with the subject, talk to her about what you were looking for or trying to capture, wonder what she wanted to see? Was this done after a photograph session? Your result is so pefect that I, and I think "we" on this site, are eager to learn how you came to the point where you began with confidence to paint this perfect piece.

Dear Jim,

I have come to this piece a number of times since you posted it, and must tell you I love this portrait. It is the kind of painting that is "right" in every way, and I think as result, it frees me to become engaged with the subject increasingly over time. This painting's "rightness" leaves not a single distraction on the surface to interfere with my view.

This composition is wonderfully strong and uncontrived,with great simple shapes and a beautiful value patttern.

Congratulations on a lovely piece of work.

Chris

Thanks one and all.

I had the advantage of knowing Doris from our portrait group at the local Art Association along with the required stop for drinks afterward. Her input amounted to the clothing she wore, the size (she had a frame for it), and where it would hang.

On tip toe Doris might be 5' tall and has a perpetual upward tilt to her head. A cushion was needed and we placed her in the corner of our couch were she naturally assumed this pose which is quite in character and allowed me to depart from the typical placement of head in the center of the canvas. I had to use Photoshop to recover detail in the shadow area.

The violet, Steve, was one of several accent colors that I attempted to provide interest in the dark space. (There are some other colors that do not show on the monitor) and must confess that the decision to do so was more subjective than calculated. The violet reflection on her temple seemed to make a good connection though it looks a little too bright on my screen. (Head detail below) In the actual painting there is also a small suggestion of the sweater reflecting under the chin.

Had this work been commissioned by anyone else I would have had to involve the subject more. Not everyone would freely accept a non typical pose let alone a painting that shows all the wrinkles and arthritic hands. Aside from the usual struggles this one was a lot of fun. But it's still a lot of work to make'em look easy.

Jim,

Make sure you enter this piece in MANY competitions. Do the Artist Mag. coming up...

This is a wonderful portrait and I just keep coming back to look at it....wow.

I, too have come back to view this painting numerous times...it reminds me of someone I know, someone wise and beautiful. When I paint a portrait, I try to capture the essence of that person, somehow...and you have done a splendid job, indeed! She has a nice sense of spirit.....I love it! Thank you for showing it to us!

Jim, you must be so pleased with this portrait! I think it is one of your best so far. At least, it is one of my favorites. The colors are very rich and the composition works very well.

Congrats on a beautiful portrait! :)

I know I've already posted, but please humor me. She looks very intelligent and wise, as though she has much to give to the world and does; lots of love in her heart; always interested and inquisitive. I could imagine her music students coming knocking on her door years later...unannounced, because they felt so comfortable...just to say hello.

Have I stretched it too far Jim?

You obviously have a real winner here. Did you enter it into any of the competitions?

Cynthia,

Yes, you have described her well. She has maintained contact with many in our community (Lancaster, PA) and knows many people within the arts, music and entertainment business. It is not uncommon for her to have taught or coached two or three generations within the same family.

After a few minor changes in the background I intend to submit to several regional and national painting competitions.

Great, Jim! And, the fact that I have described her well only means that you have captured her very well!

Jim

WOW!!!. I really like the style in which you paint. I wish I could do even half of that one day. Many painters blend everything (I have that tendency too), but here I can see every masterful brush stroke - WOW!! again.

I'm curious, once one reaches this level where you can execute a portrait with quick powerful strokes does it take much less time?

Tarique

Tarique,

I don't know whether or not it takes less time for me to paint in this style. The end effect tends to look as though each stroke was sure and deliberate but I can tell you that a lot of time is spent building, changing and adjusting the color and value balances that set up those final patches of color. When I was in art school an instructor encouraged me to paint this way because I tended to get bogged down in detail. He suggested that I should try this technique as an exercise to loosen up and pointed out that I could always come back and smooth things out if I preferred. I liked the results and continued to paint as I do now. I blend often when called for. Again, the end result (the whole) is more important than method or technique. All in all I think the time it takes would be the same.

Your question of time occurs to me when I see Karin's paintings and wonder if the glazing process (which I have never attempted) takes more time than direct methods.

I have attached a head detail from a portrait of a past president of a local corporation. I had to shoot from the left side of the painting to avoid reflection and hope you will be able to see the nice combination of brush strokes, smooth passages, and areas lost in the shadow without the artist losing the form. I especially liked the treatment of the rimless glasses.

I learned from Ray Kinstler at the recent PSA seminar that this painting is by Johansson (spelling might be wrong).

What a wonderful masterpiece! The colors, the composition, the pose, it is all so wonderful. How did I miss this?

Lon