Toni

Terri Ficenec · 04-06-2006, 07:57 AM

Garth, this is gorgeous! Her expression is so warm and comfortable, natural. I especially love how you've handled her hands and those glasses, and the dual light source. Spectacular!

Richard Monro · 04-06-2006, 09:09 AM

Garth,
What a warm and inviting painting. She looks like she could step out of the painting and be your best friend. Capturing such human qualities is always difficult and you have done a masterful job...as always!

Chris Saper · 04-06-2006, 09:41 AM

Dear Garth,

Another fabuous painting! It's so- well- right. Congratulations!

Sharon Knettell · 04-06-2006, 09:59 AM

A beautiful painting Garth.

How fortunate to have client willing to sit, her warmth shines through.

Garth Herrick · 04-06-2006, 10:39 AM

Dear Julie, Mischa, John, Terri, Richard, Chris, and Sharon,

What a delightful greeting from each of you; my sincere appreciation!

Toni is a warm person, and an instant friend, Although she was not originally completely comfortable with having her portrait for the clinic, it is something of an understanding that each partner in the practice will have his or her portrait commissioned when they turn fifty. She is the youngest of them; I have done three other partner's commissions over the last few years. I do have to admit, Toni's is my favorite. She seems so comfortable. I know she is a wonderful doctor.

Julie, I'm sure Toni would enjoy working for you too.

Mischa, the detail is not more than impressionistic here. If all insist, I'll produce a closer-up view, but I don't think there is much more to see. I tend to envy everyone here that produces flawless sharp details routinely. I have been satisfied with the suggestion of more than there actually is painted.

John, the bar? I didn't notice it move yet; don't worry!

Terri, the dual ight source is always tricky. Thanks for your compliments. I did a setup on location with one of my Lowel Tota-lites (halogen). That certainly adds some warmth. Just be careful to have a similar light on the canvas while painting, as is on the subject. Yes, I can get into trouble at times.

Thanks Richard, she's an instant best friend. That could not have been understated.

Dear Chris, and Sharon, thanks, I was fortunate that she could sit. Photos just don't yet measure up for color. She might have ended up with greenish hair! It has a soft reddish cast, the camera did not pick up.

Garth

David Draime · 04-06-2006, 12:29 PM

Garth,

Every time I see you post something, I have a feeling that the next big lesson is about to begin. And I'm never disappointed. While I eagerly try to assimilate the riches you are showing us all, I am also turning several shades of viridian with that old, familiar deadly sin. This is stunning. You are a consummate painter of light. The cool natural side light that meshes perfectly with the warm halogen glow...your values and color temperature are, as always, dead accurate. You remind me of something Tony Ryder said (in the latest - 4/06 - Artist's Magazine article): ...."I've always felt that the best art combines clarity of thought with depth of feeling." I also consider "clarity of thought" to include fluency, virtuosity, accuracy in the given medium. And the "depth of feeling" part of the equation ...You've got buckets 'o' both, my friend.

Quote:

Originally Posted by Garth Herrick

Mischa, the detail is not more than impressionistic here....I tend to envy everyone here that produces flawless sharp details routinely. I have been satisfied with the suggestion of more than there actually is painted.

I think your focus on "the suggestion of more than there actually is" is a big part of why your paintings are so successful. I think that rendering "flawlessly sharp details" can easily go too far - it can be a real trap. This is a big subject, and I won't belabor it. Suffice it to say, I think your envy is misplaced - our envy is not.

David

Garth Herrick · 04-06-2006, 12:57 PM

Dear David,

You must know I am floored by your eloqence. You are such a fine teacher and artist and I continue to be viridianned [sp] as well at the thought of your lucky students! Suffice to say, you are a master I admire, and I do envy your finish and polish. Don't change from that very much. Thank you so much for your very complimentary response, friend!

Garth

Alexandra Tyng · 04-06-2006, 01:01 PM

[QUOTE=Garth Herrick}I'll produce a closer-up view, but I don't think there is much more to see.[/QUOTE]

Please do post the details! That is exactly what we want to see: how you made "something" out of "nothing!"

Linda Brandon · 04-06-2006, 10:43 AM

Oh Garth, another knockout of a painting, with great warmth and virtuosity of style. I love the idea of putting a figure in front of another painting.

I always get a feeling of approachability when I see your subjects, they draw the viewer toward them. This isn't easy to do.

I think you need to explain "velaturea" to me again, by the way.

It's beautiful, Garth!

Garth Herrick · 04-06-2006, 11:07 AM

Quote:

Originally Posted by Linda Brandon

Oh Garth, another knockout of a painting, with great warmth and virtuosity of style. I love the idea of putting a figure in front of another painting.

I always get a feeling of approachability when I see your subjects, they draw the viewer toward them. This isn't easy to do.

I think you need to explain "velaturea" to me again, by the way.

It's beautiful, Garth!

Dear Linda,

Thank you. I follow your precedence with this sort of setup.

As to velaturas, there is not much example in this current painting (but they are not absent either). A velatura is akin to a glaze, but is semi-opaque and generally a lighter veil of color over a darker sub-layer. Unique optical properties come into play with a velatura, creating color effects not otherwise obtainable. Everyone should try this out and see the possibilities.

Garth