Thank you, Enzie!
I still have to unify the lights and adjust a few things. And the more I look at the chair I see I need to adjust the arm of it a bit. I will remember to "connect" her arm and the chair arm. Thank you for the heads up!

I like this #8 version if the arm lean could be seen a little from above at a slightly diagonal angle pointing downward.

Allan

Okay, I've slept on it and I'm going with "A".

Allan, I think I understand what you're saying. I think this will be accomplished by curving the arm of the chair more toward the viewer instead of going so much to the side as it does now. I will have to do a better job of explaining where her left knee is under her dress and bringing that turned spindle toward the viewer a bit more too.
Thank you all so much for your help and input!
I'll post it when I've fixed those things.

I love this chair!
(just thought I'd share that.) :D

I like the first chair, and I'd omit the bars above the arch.

Yes, I am a bit cloudy now and then.
I

Hi Allan,
Yes, that is what I thought you meant.
Ok, Michele, the bars above the arch are history.
And sorry about the big font OOPS; I thought I was making the font smaller.

The more I look at this after the changes, the more I feel this chair is wrong. I'm changing the chair and her left arm and hand.

Brenda,

Good for you!

This is a trick I have used for children which I have mentioned before.

I have a blow-up of the picture of the child I am painting on foam-core or cardboard next to my easel on my right, then I have the child sit as best as she or he can in the same light and pose. The photo is referred to as the 'good' child and the wiggly sitter is referred to as 'the evil twin'. You get the color reference from the child and the drawing from the photo.

The painting of the child in the ballet skirt was done this way. The impish quality of the girl would have been totally lost, I feel, working only from the photo.