posted: May 5, 2010
Two recent portraits. Jerimaiah above has been floating around my various classes as a model. I've been able to paint and draw him a few times. Haveing time with a model, extended time, is so valuable. Getting to know them, bonding a bit. It makes a study like this more meaningful, the whole practice, deeper.
Roberto Parada May 5, 2010
Nice studies. Peter do you ever find yourself thinking that the initial underpainting is the most interesting and dynamic brushwork? but you don't have the likeness? Then you have to go back and ruin it by getting the darn likeness? A chronic issue for me. Cheers
Kyle T Webster May 5, 2010
These are really nice, Peter.
Rob Dunlavey May 5, 2010
I like this interplay: Cusack/Parada. Nice paintings Peter.
Victor Juhasz May 5, 2010
Very nice studies. And I'm right there with Roberto about ruining the freshness and dynamism by going for the specifics and making things correct.
Peter May 5, 2010
Thanks for stopping in guys. Roberto, yes absolutely. I wish we could talk longer about this. That's something that I was working on and conscious of in these paintings. How to strike that balance. How to continue developing with out noodling and killing it. As I get older I'm able to leave thing as is more. I don't feel like a painting is complete only when all parts are completely painted. I also find myself more interested in capturing an initial impression and character rather than likeness. That's one of the things that I love about Victor's work. Thanks for chiming in Victor. Guys that don't kill freshness . . . Halls, Duveneck, Henri, Bellows, who else?
Richard Downs May 6, 2010
Nice studies, Peter.
Victor Juhasz May 6, 2010
"Guys that don't kill freshness . . . Halls, Duveneck, Henri, Bellows, who else?" No matter how finished and perfected his paintings, and portraits in particular, Sargent almost always manages to create that illusion of spontaneity and freshness in his brushwork. Oh, don't forget a certain Mr. Hunt.
Peter May 6, 2010
Yes Hunt and Sargent for sure. Sometimes I imagine Robert picking Sargent's locks. It's a state of mind wouldn't you say. A switch from wanting to be a "good painter" to wanting to make a "good painting" . . . is it that simple? Velazquez makes a big switch in mid career. He seemed to be very process oriented then at some point abandons the process and paints from his gut. So I'm throwing in Velazquez as one of the emotional painting pioneers. Chardin too. Ok enough. Of course drawing has the same considerations. This just came to mind. Maybe a bit too mystical, but it's like painting a picture the same way a flower blooms. The brush stokes are laid down the same way flower pedals open. Oh damn someone get me some robes.
Peter May 6, 2010
Wait Victor . . . illusion? So your saying his paintings aren't so spontaneous? Maybe worked over but with the illusion of spontaneity?
Victor Juhasz May 6, 2010
They've got a few great Sargents up here at the Clark Museum in Williamstown. I always make it a point to go check them out when I'm there and try to figure out that incredible sense of security in his brushwork. What do I know.
Peter May 7, 2010
that's a great way of putting it . . . incredible sense of security. I'm going to use that. Thanks. I might be heading up to the Clark over the weekend to see the Boldini show.
Tim Coolbaugh June 2, 2010
I know I'm a little late to the party but what about Greg Manchess and to the far extreme for freshness and of the moment, Robert Cunningham.
Peter June 2, 2010
Yeah GM and RC. I love both of there work. Not late at all thanks for stopping in.