Sunday Morning

Garth Parker · 10-27-2005, 10:13 AM

14x18 oil on canvas. This was one of those fun weekend projects. Thanks for looking, critiques welcome.
Jerome

Steven Sweeney · 10-29-2005, 09:44 PM

Jerome,

I don't know that we've "met" before, since you signed on after I became a hermit, but it's never too late to let synchronicity do its work in the universe.

My western/Midwestern social sensibilities make me want to step back a little from this image, to give her some space. But I know from looking at your website that this

Cindy Procious · 10-30-2005, 10:26 AM

Quote:

Originally Posted by Steven Sweeney

Jerome,

I don't know that we've "met" before, since you signed on after I became a hermit, but it's never too late to let synchronicity do its work in the universe.

Steven, you should come out of hermititude more often. Nice critique!

I really like what you did.

And, Jerome - beautiful painting. The weave on that hat would have driven me insane.

Garth Parker · 10-30-2005, 10:49 AM

Hi Steven,
How long does it take to obtain the

Linda Brandon · 10-30-2005, 11:20 AM

I'm also one who misses Steven's critiques. The best reason to post something in Critiques is the chance that one can lure him into saying something on the Forum.

I agree with Cindy, the hat is amazing. I really l like what you've done here, Jerome, though I always feel I am trying to drag you away from the photorealism camp which is where your heart lies.

Steven Sweeney · 10-30-2005, 02:40 PM

[QUOTE=Garth Parker]
How long does it take to obtain the

Alexandra Tyng · 10-30-2005, 06:26 PM

Garth,

Very nice! I find myself looking at it for long periods of time, almost zoning out (a desirable state for me). I like the contemplative mood very much.

As for critique, I also find the mole to be over-modeled and distracting, as though I were a doctor examining it.

I could start nitpicking and tell you that I also see a slight droop in the line of the upper lip, compared to the photo where it is fuller and flatter. The corner of her mouth seems a tiny bit too stretched out. But you might not even care about these things, since the painting works so well (and the woman's expression is perhaps more intriguing) without absolute loyalty to the photo.

Alex

Garth Parker · 10-30-2005, 11:30 PM

Hi Linda,
Thanks for looking and commenting. Please don

Linda Brandon · 10-30-2005, 11:46 PM

Jerome, I'm glad you're still writing to me after my post, which I apologize for as I read it again today because it sounds pretty cranky. I do feel that you are attracted to dramatic lighting conditions which are more easily controlled in an indoor setup. You have a dramatic, introspective flavor to your work, which is not a bad thing to have.

I can pm you in the next couple of days.

Bobbi Baldwin · 10-31-2005, 01:07 AM

Jerome,
Very nice work in your skin tones and hat and even the values of your clothing.
The introspective subjects always intrigues me. There is so much to think about in a painting. When we give someone a chance to feel their feelings, many times it feels like our own. I like the way you choose your position to make your portraits feel like figurative work and use the emotions of the viewer to take your portraits into the in between space between showing them as a generic person but, really capturing a character that is not generic in any way. A bit of an oxymoron in feelings. But, it's a great way to the intrigue in the viewer.
By the way, just out of curiosity, how long did you take to paint this Sunday morning?

I have really enjoyed reading the critiques here on this painting. Steven, thank you for your work. I like how you give a well formed opinion. I noticed the tension between the nose tip and face edge immediately and wondered what would be said. I hope I run across your words often in the future. Keep up the great work.
I just began to read this forum two weeks ago, although Cynthia tried to get me involved years ago. I guess the time is right. Unfortunately, I think I am hooked now. I really need to get back to the easel! But, I am learning a lot from all of you! Thank you!

As a last thought, this may not be something that bothers anyone else, but, the hair felt unfinished and not in par with your other skills. In trying to solve why I felt this, I saw a few things that I would advise. I find that if I take just a few strands from the end and curl them back into the lock that it gives the hair a softer tip and keeps it from feeling brittle,dry, and broken off. All subjects want freshly cut tips to show in their hair. Also, leaving some areas of the hair without brush strokes and only showing the details of hairs in the light will soften the appearance of hair. I see that you did some of that with a deep black tone near the face, but even in some of the shadows that fall in the center of a curl, here and there. I do suggest more transition on the skin of the cheek, below the hair strand in a warm huge to soften the contrast slightly. 'How you handle your hair' will finish your painting to a level that meets the rest of your skills with details. You lost a lot of detail to shadow in the rest, and the hair feels more defined with strokes than the rest. This is just my humble opinion and it may not be the same as others. I hope this helps.
Bobbi