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Old 06-17-2007, 01:45 PM   #1
Jan Verhulst Jan Verhulst is offline
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Selfportrait




http://bp1.blogger.com/_9BiWatWzbfU/..._0111+copy.jpg
Oil on canvas. About 2 hours Thanks for looking and feedback.
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Old 06-17-2007, 05:40 PM   #2
Enzie Shahmiri Enzie Shahmiri is offline
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It's very abstract and looks like you had fun with it.
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Old 06-18-2007, 09:48 AM   #3
Claudemir Bonfim Claudemir Bonfim is offline
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I liked that a lot! I'd surely hang it on my wall.
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Old 06-18-2007, 12:13 PM   #4
Thomasin Dewhurst Thomasin Dewhurst is offline
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Nice self-portrait, Jan. Nice solid skull, and great integration of subject and background.
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Old 06-19-2007, 04:39 AM   #5
Ilaria Rosselli Del Turco Ilaria Rosselli Del Turco is offline
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Jan, a very nice work, reminiscent of Cezanne's late self portraits.

The handling of the paint is confident and free, and the colour harmony works well.
I find though, that you have structured the skull and face better than the jaw, and if you are willing to put more work in it you could really go into the neck and shoulders to give them more solidity. That part is the one that I find always difficult: the muscles that start just under the ear and connect where the collar bones meet are my biggest nightmare.

If you look at Cezanne you can't help but noticing his real presence in the painting, and I think that in your work you are there but not completely. Maybe either you paint your eyes more thoroughly so that you are really looking at us, or you insist on your phisical weight and really get into the anatomy of the neck and the width of the shoulders, in order to make the portrait stronger and more captivating.
In any case the most important thing is that this is a picture that really works as a painting and not only as a portrait
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Old 06-19-2007, 07:41 AM   #6
Alexandra Tyng Alexandra Tyng is offline
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Jan,

Although I agree with Ilaria on the points she has made, I also could be quite satisfied with this portrait as it is. For one thing, it is very solid in its proportions and you've recorded the forms with a convincing shorthand of brushstrokes, as if you were accustomed to taking notes very fast and accurately. The other reason I like it is that the head was conceived along with the background, or space around it, as one thing, and the head is now in the proces of emerging from the flatness of the ground. True, you could go further, but it works as is because it is a solid foundation.
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Old 06-19-2007, 07:50 AM   #7
Jan Verhulst Jan Verhulst is offline
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Enzie, Claudemir an Thomasin, thanks for the kind feedback!
Ilaria, special thanks for taking the time to give such an interesting and extended feedback: ! I've got the feeling that I was following a script painting my portraits. I want to be more free from copying en go for some expressionisme. I try to inspire meself with the paintings of Ann Gale, Thomasin Dewhurst, Rik Wouters and Oscar Kokoschka. I dont really know what I'm doing, the only guidance I take is the contradiction to 'deforming the face by color and brushwork, without loosing the form'. I know, I know...
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Old 06-19-2007, 07:55 AM   #8
Jan Verhulst Jan Verhulst is offline
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Alexandra, our posts crossed. Also thank you for your truly valuable feedback. !
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Old 06-19-2007, 02:55 PM   #9
Thomasin Dewhurst Thomasin Dewhurst is offline
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Jan, I can't believe you included me in your list of painters who inspire you. I am most flattered. I also wanted to let you know that I never know what I am doing either. I just work and rework until I get a convincing sense of character and drawing, and some sort of feeling akin to music or a soaring, longing quality. I never know how to get these things except by hoping they will occur accidentally, and eventually they do. Every painting seems totally different from the previous ones but looking back there is a continuity I didn't know realise at the time of painting which makes it seem as though I had a plan. I think the not knowing what you are doing is where you will find what really drives you to paint.

Thanks for pointing us to Ann Gale. She does some very strong work.
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Old 06-19-2007, 04:07 PM   #10
Jan Verhulst Jan Verhulst is offline
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Quote:
Originally Posted by Thomasin Dewhurst
I just work and rework until I get a convincing sense of character and drawing, and some sort of feeling akin to music or a soaring, longing quality. I never know how to get these things except by hoping they will occur accidentally, and eventually they do. Every painting seems totally different from the previous ones but looking back there is a continuity I didn't know realise at the time of painting which makes it seem as though I had a plan. I think the not knowing what you are doing is where you will find what really drives you to paint.
This is making a lot of sens to me. I'm thinking of that proffessor who is writing about FLOW..I'm sure you know. He said that it is important to get immediately feedback from your efforts to go in a flow. Art he said is a special case, there is no feedback, until you see what you always wanted to see, but didn't knew before...I hope this make sense..
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