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Old 12-07-2005, 11:58 PM   #11
Linda Brandon Linda Brandon is offline
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About body language - this book says you have to set forth clues to character even in repose, and one of the clues to character is in level of tension in repose. You show level of tension by increasing the amount of arch, curve, twist or spiraling actions. The more tension, the more "unsettling", dangerous, etc.

I have always felt that one of the reasons Sargent got into trouble for his Madame X portrait is not just because of the slipped strap, it's that twisting arm on the table.

Anyway, I find this kind of thing very interesting, just thought I'd share this.

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Old 12-08-2005, 11:18 AM   #12
David Draime David Draime is offline
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Quote:
Originally Posted by Allan Rahbek
Someone please explain to me; why is the bad one also the prettiest one?
Allan
I don't know Allan, that Good Girl is pretty babe-a-licious...
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Old 12-10-2005, 10:15 PM   #13
Alexandra Tyng Alexandra Tyng is offline
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The twist

Hmmm. . .Linda, glad you brought up that thing about a twisting body posture connoting tension. I know lots of portraitists use this posture as a matter of course, to create interest. I've noticed also that many traditional portraits of women show them twisting. Is it sexier? More provocative? More "feminine?" Or simply more interesting?

Just to be perverse, I deliberately try not to use it in my portraits of women, except in cases where it connotes something specific (not necessarily negative) about the woman, and about the emotion or the whole concept of the painting.

Maybe we should start a new thread about this.
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