Sydney

[Ngaire Winwood]

Wow plus Marvin.

One day I will get across the big pond to have a workshop with you and to see one of your paintings in person. I bet it will knock my socks off.

I just love the eyes and the jacket colour. You have raised the bar once again.

I notice that in the light reflection in the eyes you seem to have made a slight red stroke within it, splitting the white, can you explain the purpose of this mark?

Thanks for your latest inspirational work, you must be very proud of your efforts. You have done a great job!

Ngaire

[Marvin Mattelson]

Hi Ngaire,

It could just have been a fleck from my brush when painting the top plain of the lower lid. It never bothers me when color jumps around because it helps unify the painting. Sometimes I do it without thinking.

This painting is currently being featured on the April issue of the Artist's Magazine. They also did a article on my work in the same issue. The reproductions could have been better but tI think that the writer did an excellent job on the article. It's on the newsstands now.

[John Reidy]

I am so happy I couldn't sleep. I don't visit here as often as I should.

Marvin, you continue to slay me. What a beautiful and masterful piece of art. Guess I am going to have to buy a magazine now.

Thank you for posting. I am looking forward to the day when we can get together.

[John Crowther]

Stunning portrait, and a terrific article. Very valuable. Alas, The Artist's Magazine has a history of terrible color reproductions, which would seem to negate the whole point. I remember some reproductions of Impressionist paintings a few years back that were dark and murky, completely losing the beautiful light in the originals.

[Marvin Mattelson]

Thanks John & John. As someone who worked as an illustrator for 30 years, I guess I'm somewhat immune to the ravages of reproduction but there is always a little sting from the falloff. As an illustrator I had the ability to compensate for printing, but when I do my portraits, it's only the original that I'm concerned with, which in this case looks light years better. But in the end, a bad reproduction is better than no reproduction at all. However, I am most grateful to the Artist's Magazine for giving me the opportunity to share some of my painting and philosophy with fellow artists.

[Patricia Joyce]

Anyone still interested, there is room in Marvin's 12 day workshop in Cleveland, OH at the Cleveland Institute of Art June 4 0 16th in the brand new studio at CIA. Call Lisa Kramer-Reichel to register Monday, at 216.421.7461. Let me know if you have questions!