In Memory of Nina

Lon Haverly · 03-21-2002, 03:19 AM

I did this Monday and Tuesday, and am about 2/3 done. Wanted your imput. I have more work to do on the backgfround, minor likeness details, and the yellows are a bit more yellow here than in reality. I let it go for the memorial service tomorrow, then will apply some more glazes.

She was our dearest friend of 20 years, who died last week of cancer.

I will try to upload both the painting and the resource photo. Wish me luck for Cynthia's sake.

Steven Sweeney · 03-21-2002, 04:42 AM

I've run up against some unexpected family and friends' departures, and I've never yet figured out how to deal with them. The homilies, my own studies and perspectives . . . somehow when your own face is pushed against that wall, you're not sure what to do.

You've just posted a useful note elsewhere, which I'll merely try to echo here, that the highlights are too white and strong. The real strength of a highlight is in its being an accent, an exciting interruption of value, rather than a tonal shape. [Actually, I'll have to give you shared credit with Jim Riley, who I now recall focused on the highlights as well. If I'm wrong about that, too, I owe everyone a dollar, or at least a plum blossom.]

Best wishes and with shared heartache,
Steven

Steven Sweeney · 03-21-2002, 04:50 AM

Sorry for the recurrence, but ... how is it that you chose the altered hairstyle? I thought that she was beautiful in the photograph, and if chemo or other circumstances changed her earlier "look", so be it. She was a beautiful person later, too. I understand that this is a project fraught with intense emotion and a lot of artistic second-guessing, and I'm not presuming to feel or know what you feel and know.

Steven

Lon Haverly · 03-21-2002, 07:09 PM

Thank you for your always great input, Steven. I elected to use the hairdo prior to Kemo, which was always long, as well as the knowledge that her husband picked out a photo for the news release that was of her with long hair.

Point on highlights well taken and agreed with. In the actual painting, I used "flesh" color here with a little white. It is not white as it is here in the painting. I agree, highlights need to be just interruptions of value. I will take a second look at it. I really need an fresh outside eye for this one.

Leopoldo Benavidez · 03-21-2002, 07:40 PM

Lon,

I like it! Yeah, I could pick it to death, but why! You skill has left a fine tribute and no more. Great job. I see lots of paint, juicy, painterly! Good! I particularly like the breaking of convention with the horizantial stroke on the sweater. Bold!........L

Lon Haverly · 03-21-2002, 10:49 PM

Thank you, Leopoldo, glad you like it. I am struggling with the gold. Is there a better background for this painting? Maybe more of a beige or tan? The background is just a single coat of glaze. It could easily be improved. Any suggestions?

Steven Sweeney · 03-21-2002, 11:21 PM

For what it's worth, I fooled around with this in PhotoShop and put in a violet background, in various values, as a complement to the yellows in the sweater and the flesh tones. I rather liked the effect, you might investigate it (violet or a violet-red). To go beige or tan "might" reduce the contrast between the flesh tones and the background more than you'd like, but I admit I forgot to experiment with that. Anyway, with a background more removed in value, colour and/or temperature, you could afford to get some colour into those highlights, which I suspect are as white as they are now because they had to be to compete with the bright, hot yellow background.

Just some notions, from the five-and-dime. Two-for-one sale today.

Leopoldo Benavidez · 03-21-2002, 11:22 PM

My personal opinion? Leave it! There is an energy and a wonderful cohesiveness from a painting that comes from hitting the mark surely, without going back and tickling something to death. Yeah, you could probably improve it, but why when it works...Again job well done...L

Chris Saper · 03-22-2002, 12:22 AM

Dear Lon,

I have watched this thread every day or so...today my comment has to do only with your inquiry about the background...I think at this level of finish in your portrait, it is a mistake to change the background. You have painted this entire piece within the context of the value, color and saturation of the background, and it is the basis against which you have placed all other strokes. Changing it now would require you to rethink the entire color harmony and repaint a good deal of the surface, and I feel, risk losing the fresh emotional spontaneity and desire to express your own feelings about this sad loss of your friend.

It's a lovely piece, and I am sure one that will be treasured by her family. My condolences.

Chris

Morris Darby · 03-22-2002, 11:06 AM

Lon, I would have to agree with Chris on this one. I painted a portrait almost to completion, then the client wished to change the background color. I was quick to say, "No problem." But, when I got about halfway through, I realized all the other colors of the subject were supported by the background color (reflected light the most visible). That project took me so long to complete. The client was happy with the results, however, it still haunts me in a "Steven Sweeny lesson learned" sort of way. (grin)