The Plasterers

[Alexandra Tyng]

Here's one of my latest portraits, of a father-son team of ornamental plasterers. I had approached them about a year ago, saying I would like to paint their portrait against a backdrop of old, mottled plaster, showing some kind of work they were doing. A few months ago the son called me and said he'd been thinking about the portrait, and they had a good setup for it, and to meet them the next day at their job. It was their last day on the job so I had to work fast. The painting shows an almost completed ornamental cornice behind them. Oil on linen, 66" x 40".

[Terri Ficenec]

Oooh Alex, I like this!

It has such a sense of space and feeling of pride and the relationship between the father and son is tangible. Having just gone through some unplanned renovations at home, those buckets and tools and plaster splattered boards are just so familiar! Kudos to you!

[John Reidy]

Great job, Alex!

I love the "simple" approach to this piece. The pose, composition, color and propping really pull this painting to one theme. I particularly like the balance between the architecture and the looseness of the men.

Very nice work.

[Maria Nemchuk]

Alex,
I really like this painting! Did you do from life and finish in one day? Or took some pictures and finished it from the references?

[Joan Breckwoldt]

Alex,

Wow! This is beautiful on so many levels. I love the perspective you have taken as the artist. I wonder if it was diffucult to decide exactly from which angle to paint (photograph) them? I love all the many colors in this portrait, it seems so alive, yet in many ways you have managed to keep this portrait simple. Wonderful!

Joan

[Alexandra Tyng]

Terri, John, Maria, Joan--thank you all! I've re-posted the photo of the whole portrait because I notied the shadow was much darker, browner and less transparent than it really is. Hopefully the new image is more accurate, though it's now last rather than first.

Maria, to answer your question, I wasn't as clear as I should have been when I said I had to "work fast." What I meant was I had about an hour and a half to get all the information before they finished the job, and they are not the type to pose idly between jobs. I only had time to do a few sketches and take photos. It was a gloomy day. The only light was from a light bulb in the ceiling, so I augmented that with a daylight spot as near to the bulb as I could get it. They actually were glad to have the extra light to work by. As they worked, I asked them to pause and do different things. When the job was finished I just prayed that I had captured what I wanted to capture! Usually I do a color sketch in oil but it was not possible in this case.

Joan, I had no choice of angles, since they were up on the scaffold. But I quickly decided this angle had wonderful dramatic possibilities.

[Linda Brandon]

Alex, this is a stunning painting! Like Garth, I've seen this in person and it's just amazing. This "men at work" concept is so freshly painted and holds together so well from a viewing distance. It has real presence and it is (like Garth said) BIG.

What wonderful faces on the canvas, too. Very impressive all around, Alex!

[Alexandra Tyng]

Thank you, thank you, thank you--Kim, Pat, Carol, Garth, Jimmie, Allan, and Linda--for your very generous comments! You guys are terrific artists so your words mean a lot to me.

Allan, yes, it's true I don't use medium any more, and I feel I have a lot more control over my brushstrokes, plus I'm forced to use more paint which I needed! I'm posting some extreme closeups for you, and for anyone else who's interested.

[Carol Norton]

Love the close ups...hands with plaster, eyes...everything. Thank you for sharing this with us. It sure got me.

[Allan Rahbek]

Alex,
thanks so much for showing the close ups, now I really wanted to see this in person. I think that I am going to give this technique a try