[Garth Herrick]

Alex! Alan! John! Marcus!

Alex: Thanks for persisting in your request to have me post this unveiling. Yes, the colors reproduced here do seem a little arbitrary, and they are more subtle and complex in the real painting. I suppose that is a common problem with web images just being a little off. I apologize.

I wanted to make this man even more tense than he is depicted. He always had that clenched hand griping that table!

The folks from Studio Incamminati were very gracious and accomodating to me. The class group was being conducted by Leona Shanks herself, who was so nice to step aside from her easel, a few feet away, so I might have some calm and privacy with my client sittings. A couple of times, a few students gave me some serious critiques, that I appreciated. As intimidating as the experience would seem, it really was not so bad!

Alan: Thanks; you are right, the general plan of this painting remained the same from the start. However, if you look closely (and I know you already have), everything has been revised and reworked and reconsidered along the path toward completion. In hindsight, the start seems rather clumsy. He has a different head, the hands were revised wholesale and repositioned numerous times, the jacket is revised, the table too; yes everything is different as much as it is the same!

John: Yes, that tie poking out was the one non-negotiable element! I trimmed and polished it a little though. I am glad you approve!

Marcus: Thanks for your kind words. One of the chief advantages to painting the portrait right on site at the League, was not only for the schmoozing and potential exposure, but especially for being able to see the developing painting in its intended setting at all times..... To see how the colors relate to everything else framing it. That was a big help for me!

The activity of small figures in the bottom left, are drawn literally from the Thomas Sully portrait of Washington on horseback (below). I watered down, and simplified the specifics to end up with more of a silhouette effect. I had to keep the background relatively subordinate to Mr. DiLella, even though it was litterally drawn from the large Sully.
The figures represent military offices from the Revolutionary War, loading and igniting a cannon.

Believe it or not, George Washington, and his horse appear to be life size on this canvas. This painting is colossal!

Garth