DAVID! Hello! I sure would like to see what you are working on now. I would be crying to be sure.
Thank you so much for your thoughtful response. Everything you said I agree with and struggle with myself. It's so funny what draws me (pun intended) as excellent work. I can't help but be imressed on one hand with duplicates of photos that show great technical skill. On the other hand I see work like Morgan Weistling's and dream about it. HOW TO MARRY THE TWO?
Lordy, where do I start? I totally understand what you are saying about the vignette and the retention of the artist's hand in the painting. I do start with a very sketchy (technical term
beginning but I end up covering all my sketch work by the end of the piece. There are lots of reasons for that, some of which are personal faults. I know the other reasons are going to sound like excuses but bear with me for a minute or two.
I actually used to turn out pieces that were "freer" but someone would inevitably say I should "finish" it. Mind you, I am not creating museum pieces (sadly). I am in business to make a living doing what I love. I have always struggled with how far I should take a pastel and I often overwork them (okay, almost always most artists would say) I am aware that a more creative expression would be more artistically moving. Unfortunately, I find the overworked pastels impress my clients more and I want work. I am not saying that I don't sometimes get lucky and get a client that would fall over like I do when seeing Daniel Greene's work but it is rare. I can either get a new batch of clients (not so easy at this point) or provide the service they want. I'm sort of typing as I think about this...I suppose there is a bit of a trade off in play so I can stay busy..which I am, thankfully. Maybe
I just haven't figured out the perfect marriage between faith to the work and faith to the clients.
As for working with my natural tendencies and inclinations then (which are to overwork), perhaps I SHOULD consider finishing these 10 pieces to the edge. Is that what you mean? I like that idea.
Let me add one more thing. For something like this and for the bulk of my work I must use photo references. You wouldn't believe the difference in my work when I work from life. It's like a different person. I just don't get the opportunity very often but it is shocking how freeing it is to work from life. You move away from the technical tendencies so much more easily. But alas, vocation calls. When I am rolling in dollar bills (or hundred dollar bills) I will work from life much more.
As side note, my nickname in art school was "the renderer" which just about says it all. It's pathetic but true for the most part. I work that way because I am personally impressed with good technical skill. You certianly have that yourself. In fact, you are somehow able to go further with your work than I have been able to thus far. You convey mood. I lack that I think.
I think you can sum it up by saying I paint pictures of people while some people create works of art. Oh, but the story doesn't end there. One day, probably not on the portraits of these 10 women---but someday, I will paint a work of art thanks to folks like you pushing me to improve. Lord help me, I hope I do that.
Gee, this should have been a journal entry and not a public post.
Thanks for the thought provoking response. I will ponder what has been said.