Apotheoun (Tom Livezey at Eleven)

[SB Wang]

Hi, Garth:
I met Peng Bin years ago at the house of Ren Bishi's daughter, Ren Yuanzhi. Not only Peng, Yuanzhi and her husband, well-known for his treatment on leukemia, work at military Museum, they also are inmates for 5-10 years under Mao's wife's despotic power.
He is listed as "middle Aged " artist for his health, still paints.

[Garth Herrick]

Originally Posted by Garth Herrick

I found my painting Apotheoun, was the topic of a healthy discussion elsewhere outside of this Forum, where it was in the process of being fairly and levelly critiqued. Since I didn't solicit the discussion, I was surprised to discover it midstream. It was eye opening for me and interesting to know what others really think. In fairness the feedback was offered in the spirit of a learning environment. I won't add more because it is fair to to keep the focus here on this Forum. Here in this Forum in the Unveilings section there are no critiques permitted. The exhibiting artist only gets praise, support, and encouragement where warranted, and nothing is ever said to make the artist doubt their abilities or feel discouraged. With the outside feedback I have gained some interesting insights that perhaps help me to discern the pulse of the wider viewing artist community.

Good points were raised about the validity of working from a photograph, whether figures should ever be cropped, whether the negative space is effectively designed, and whether the blue shoe really needs to be there. I am reasonably comfortable with this painting, so in my own mind I feel the way it has been painted is justified, and I am not in the position to change anything now. Here in this Forum I have gotten nothing but encouragement, which believe me, I appreciate. Only now I wonder how I would fare if this Unveilings section were actually open to critiques.

Thanks all, for the endless praise and support!

Garth

Hi Chris,

Thanks for your kind invitation to post "Apotheoun" in the Oil Critiques section. It hadn't occurred to me as an option because I reasoned this painting was beyond its completion deadline, done and in a public exhibition. I have been rewarded with a lot of good feedback between the exhibition and this Forum unveiling, and I haven't heard much to be concerned about until with surprise, I happened upon the discussion in progress about me on a different forum earlier this week. I am all for the truth being known, and I welcome anyone to speak their mind to me.

Again, my reluctance to post in the Oil Critiques section, is merely that I am not in a position to modify this painting, so following our Forum's guidelines, it might not make sense to use up Forum space to accumulate suggestions for changes that would not be executed. However, I am of an open mind and if our Forum membership has a desire to critique this painting, I am game for the mutual learning experience.

Sincerely,

Garth

[Ilaria Rosselli Del Turco]

Garth, what a great lighting.

And the slight out of focus hazy atmosphere is also fascinating.
Beautiful portrait.

Ilaria

[Garth Herrick]

Originally Posted by Ilaria Rosselli Del Turco

Garth, what a great lighting.
And the slight out of focus hazy atmosphere is also fascinating.
Beautiful portrait
Ilaria

Ilaria,

Thanks so much! I really enjoy your work, and feel oddly connected because of an alledged ancestor who moved from Venice to London, circa 1560. The Merchant [from] Venice? It sounds romantic but who knows if it is true.

I contributed elsewhere, some wordy thoughts on the motivation for my painting:

"This painting represents an intimate detail out of a favorite slide I photographed exactly 23 years ago. The boy and his mother basking in the warmth of the late afternoon sun made a serene and beautifully poetic moment together; a fleeting moment in life, captured. On a personal note, these are friends of mine represented in the painting; we were out enjoying a community picnic and day of recreation. In the ensuing 23 years I have painted several versions and variations of this imagery, and this is the latest.

"The human figure in any manifestation or gesture is compelling as subject matter. Here unadulterated youth and maturity are together in quiet communion. Suggesting a dialogue, the late afternoon raking sun adds drama and grammar to their topology. Within the contours of luminence a sublime countenance is revealed. Colors turn, shift and dance within and without the changing light. Yet within the overall captured stillness, there's another level of subtle activity, both evident and implied. This is the magic of life that motivates me to paint.

"Facing in the presence of the actual painting, the viewer relates to figures painted to life in scale. This adds another level of immediacy to the experience. I have no underlying story to tell or great message to convey. This is left to the individual viewer to create, drawing from their own unique paths and experiences.

"In sum, the image moved me. I painted it as a personal meditation upon the traditions and teachings borne out of the legacy of the Pennsylvania Academy of the Fine Arts, as distilled and related by my instructor Arthur DeCosta. What I hoped to accomplish with this was to personally grow along my journey as a painter. What I hope to communicate is my mystical joy of the experience."

Garth

[Garth Herrick]

Apotheoun has been selected among thirty works of art for inclusion in the summer exhibition at the School of the Pennsylvania Academy of the Fine Arts, from now until August !st, 2004. Anyone who wants to see it while in Philadelphia can find the school's gallery at 1301 Cherry Street, right next to the Pennsylvania Convention Center complex at 13th Street. I believe the gallery is open seven days a week until 7:00 p.m. Below is a link to the Alumni Newsletter for additional information:

http://www.pafa.org/alumniNewsletter.jsp

Garth

[Timothy C. Tyler]

Garth, this sunlight on bare skin is really extremely well painted. It is also one very tough subject. Sorolla would be proud!

PS I like the design.

[Garth Herrick]

Originally Posted by Timothy C. Tyler

Garth, this sunlight on bare skin is really extremely well painted. It is also one very tough subject. Sorolla would be proud!

PS I like the design.

Gosh Tim,

Thanks so much for your kind remarks! I would love to some day paint like Sorolla did. He is one of the virtuosos in painted sunlight I most admire. I wish he were around to give demonstations, workshops, and mentor as you do. Where's the key to that time travel machine anyway?

There is a wonderful Sorolla beach scene buried in permanent storage at the Philadelphia Museum of Art. I came upon it quite by accident while working behind the scenes in the deep sub-levels of the museum last June. I was shocked that such a wonderful painting was presently viewable only in dim fluorescent utility lighting, while hung from a metal screen. I believe one can make an appointment and arrange to study it. It may be presently in the new storage/study facility that PMA has just built within the former Philadelphia Naval Yard. I would post a picture of this except it contains some some innocent nudity. I wish the PMA would display it in their galleries.

Garth

PS: I've added image details from that PMA Sorolla (edited for nudity). Sorry about the terrible quality if the scans, they do the painting no justice. Hopefully you will get the idea though that it is a shame it is not on display.

[Garth Herrick]

Originally Posted by Timothy C. Tyler

Garth, this sunlight on bare skin is really extremely well painted. It is also one very tough subject. Sorolla would be proud!

PS I like the design.

Since youve kindly resuscitated this old thread, Tim, I thought I might as well take the time to reveal my sources. Here is the original 1981 slide photo approximately cropped to match the painting, along with the painting for comparison. The slide was not all that sharp, as photos go. I thought it might be interesting to see what I had to work with, and how the painting deviates.

Garth

[Terri Ficenec]

The painting is much better than the reference Garth. I'm still in awe of this painting! Glad to see it resurrected to marvel at all over again. . .

[Garth Herrick]

Dear Terri,

Thank you! I'm as surprised as anyone is that this thread has again been resurrected, and I am honored to share it with you one more time. There are still a number of small imperfections that are easier to spot with the painting and reference side by side, but after all that is because of and what makes it a painting. I am flattered and encouraged to know you believe it's an improvement on the slide photograph reference.

Appreciatively,

Garth