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The detail alone can dazzle on this painting and I for one love to paint shiney gold in plain old oils. Why you seem to be ignoring the Rembrandt factor is beyond me Karin. In blazing saddles you are going to rush ahead into dangerous territory using the notoriously toxic marble powder. Pardon me for scolding but, why not just stick with what you've got going so far?
Lon, your painting technique in the above example seems to have the Rembrandt feel with the dramatic contrast and dark background. I have to mention that there is something extra in a Rembrandt. Yes, of course, his skill and technique in painting shiney objects was exceptional, surpassing anyone else.
Also, it has been suggested by many (none of our group that I recall) that anyone wishing to pursue the specialty of oil portraiture must study Rembrandt. Many of his later portraits are as complicated as calculus, even the ones that look simple.
But like it or not his paintings glow, and jump out at the veiwer. Some more than others.
It's more than technique. You probably have to see it in real life to know what I mean.
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