Marie Roslin
 

Hello,

I have this book of Sheppard (How to paint the Old Master). So I'm trying the last chapter: in manner of Vermeer (each chapter is devoted to another Master.) But the picture itself is from Alexander Roslin: Marie Susanne Roslin. 1748. National-Museum Stockholm. Make a good impress.

Original dimensions are: 24" x 20", my version is slightly less. I printed it out (with poster print function) at the same size to copy it with the "sight-size" method. (Many thanks, Steven!)

Vermeer painted, almost always, with a Black-White underpainting, then he painted a kind of glaze over (still B+W) to bring the light tones up to a higher key (2nd session).Then he glazed with medium and colors, blended them with a dry brush. Finally, the strongest highlights, added some Venice Turpentine to medium that softened the edges of strokes, producing his "melted" look, without any blending.

Oh sure, Roslin must be loved this woman, her "accessories" are very painful to paint. (Lastly I'll try the fan with direct painting.)

Any comments, ideas, suggested colors?

Cheers.

Hello,

After few changes and glazing, here is my final(?) work:

I'm happy with it, but which tube is labeled with "the really cheek-red" please?

[Note: After initially preparing this, I chose to withhold it, as it seemed too long, detailed, and, um, anal. But of course that just identifies it as mine, and since the work

Hi Leslie,

I just wanted to say that you've picked a wonderful painting to copy in terms of practising your skills with different textures. Look at all the wonderful surfaces you have to explore: the fuzzy hair, the lace, the fabric, the supple leather and of course that alluring skin.

So often we just focus on the head in this Forum when what brings a painting to life is the careful attention to textures and how they compare and contrast with the human form. Well done!

Upps Steven, a lot of stuff...Many thanks for your effort, even for making demo pictures. :) I need some time to analyze it, I'm sure you're right.. darker frame is better. ;)

@Linda, thank you, perhaps I made a few important steps as well painting textures and in painting global.Funny, against my natur (impatience) I like this method. I 'll try paint more Old Masters since it is a good practice. The way which was used once.(even successfully)
Cheers!

OK, Steven , I've got it. It was good to decide to dust off and post it. I have some (understatement of the year!) problems into this. As you picked it apart (many thanks for it!) : I've some lack of matching of the likeness/form, the values -- a really complex thing -- and colors-- another tricky stuff. Well again and again, I recognize how my eye is exercised weakly. :( And how far I am away to see the things just like you all. A relevation, what kind of putative "little" details (in mine eyes) , so big connection stands.
Yes, I didn't match that steel blue of her shawl. Although, the photo shows some higher contrast, it is wrong. I still paint with too intense colors. I must study to make it more naturally. Recently I decided to reduce my palette to 3 tubes: Cad Red Deep, Cad Yellow Light and Cerulean Blue. I know they have heavy tinting power all. If I learn to handle with these, can I extend my skill in color mixing. My last picture is painted so. It goes very well. But I think about this famous "Paxton Palette" too. I did a search on ARC after Paxton.....it has sufficed.
Values.. Do you have an idea how I can learn it faster and better?Oh no! I know: squint, mind, practice. :D
Many thanks for your critic! Critic helps always.
Cheers.

Leslie, if you can get something out of the critique, that's great. If there's stuff in there that doesn't make sense or that you might not agree with, feel free to ignore it. My comments are those of one person with limited experience and a computer on caffeine, and I have no ego investment in whether any of my suggestions are implemented -- I'm just putting things out there for consideration. For all I know, I might have a different opinion myself this time next year, after a few more paintings.

I probably don't spend quite enough time saying what's "right" about a piece, perhaps because I presume that the artist knows that and is looking for comments on how to make it even better. In some cases, that presumption is not valid, but in the end, everyone has to be somewhat autonomous and autodidactic [self-taught] in what notions they choose to incorporate into their own practices and procedures. That's what makes our work "our own."

You brought this piece a long, long way entirely on your own and you should congratulate yourself on that effort and accomplishment, using what you've learned here, in your next work.

I agree with you. I'm not the type of student which is out for pat on the shoulder. This is not seriously. The whole painting is for me as if it were to learn a job or in the school. No children teaching the teacher, isn't? Also your tips here, helps a lot, due to the fact here are very few good books or courses in realistic manner. (here , where the whole thing started.) Perhaps a chance for somebody with "adventure" natur?(coming to Europe)
Cheers.