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Thanks, everybody!
Thank you for all your gracious compliments!
Lon -
I was in a large-ish class, in the 2nd row of easels. I'd say that I was between 10' and 15' away from the model. The background was close to that green: it really set off nicely the model's coppery complexion. There was a pink-y cast to the light on the model, that made her glow. I made no adjustments to the set-up.
I prepare a "panic canvas" -- a small toned canvas that I take to every class, just in case the model should fail to show up, a frequent occurrence in the spring semester flu season. I flit between a raw umber wash, a yellow ochre tone, and this pink-y venetian red-with-(a little) flake white, or a grey (or ultramarine+burnt umber mixture, or some other combinations that turn out to be grey).
Velazquez used the reddish tone on his canvas for his Juan de Pareja, much of which he let show as part of his sitter's complexion. Letting the ground be part of the painting is a mark of real confidence, in my opinion. Letting mine show in the vignette style is about as far as I can go in a display of confidence--that, plus the class was winding up.
Again, thank you all for your kind words, and the best to you!
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