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Sharon these are stunning! I can't even imagine the size of them and how many sticks you went through.

Is this the panel you were discussing way back? Or did you use a sanded paper?

Bravo! :thumbsup:

Sharon,

These are just spectacular! Wonderful texture, beautiful skin, haunting color harmony.

I'm sure their impact is grand in person!

Wow! Absolutely stunning and beautiful! :thumbsup:

Wow
 

Hi Sharon,

These are gorgeous! I especially love the one with the flower next to her.

Linda,

Do you hire models and shoot these in a studio (I assume you're working from a photo...)? Did you provide the costumes or art direction on what they are dressed in, or are they existing outfits the girls had that inspired you? How much planning did it take to create the compositions? Thanks.

Sharon,

These are stunning, to the point of rendering me speechless (which may in itself be a worthy accomplishment).

Is it safe to assume these are one and the same girl, rendered in different poses within the same image, or are they twins?

Sharon, these are just lovely!

Whole lotta planning going on!
 

Josef, Will, Linda,

Thanks again!

Very little I do is left to chance, I am a compulsive planner and nitpicker.

I hired the model, purchased the leotards and had the skirt made. I did drawings and studies of the model from life so I could get an idea of a dancer's movement and stance. When she was not there, I made thumbnails to get an idea for a compostion.

I always plan my camera position and lighting before the model comes for final photos. I always check the model's height. I can then set up a dress form with a wigged styrofoam head and the outfit or something similar. That is very useful to check lighting, angles and focal lengths.

I use a combination of photos and live models. If the model is unavailable I put the outfit on my dress form in the same light she was photographed in. I only shoot with daylight film, no flash, strobes so I can paint the colors as they actually appear in my studio. There are astonishing surprizes in color when you do that, instead of just relying on your print.

I get large prints at least 30" x 40" and place them right next to my easel. First I do a smaller study, about 3"x5' and have a photocopy enlargement made to the size I want to work and transfer it to my panel. I then make a rapid color study. As I stand about 15' from my easel I can see a larger print more easily. The further back you are from your work, the looser and bolder your strokes become. You are not so attached to each little detail at first.

All I can say is to work on a large pastel such as this requires a lot of planning.

They are all the same girl, a wonderful, graceful model who has unfortunately moved away to Wisconson.

Beautiful, beautiful work Sharon! And a very good idea with different structure on different areas of the paintings. If I could only see them live...

Stunning, Sharon!

Can you post even closer closeups of the faces, and can you tell us where you found your model?

They are everywhere!
 

Hi,

I will try later to post a closup.

Ballet schools are great places to find gracefull models. However you can't just walk in as the good ones are very protective of their students. Call, ask permission, explain carefully what your purpose is and be prepared to bring your portfolio.

If the girl is underage, the mother will accompany her as a chaperone.

Model agencies are also a good resource, just be prepared to pay!

I have recruited models everywhere, malls, streets, Just keep your eyes peeled, there is beauty everywhere! However when you solicit in a public place it is very hard not to sound like a creep. If it is a child always talk to the mother first or with a teenager ask for her parents permission.

I found Jessica in a ballet school, her mother and I have remained friends to this day and she makes my ballet costumes.

Sincerely,

Sharon,

I am impressed beyond words. Your work is stunning! It just goes to show that great results do not occur by accident. I really admire your degree of forethought and planning, leaving nothing to chance. Dressing your mannequin in the actual costume to ensure accuracy of color and form is such a smart idea. Just obtaining such gigantic reference prints is a daunting task for most of use!

Elizabeth and I were both thinking the same thing: You must use tons of pastels in works so large. You confirmed that you order hundreds of dollars worth at a time. (Not a number for the faint of heart!) Do you ever purchase the giant sized sticks by Sennelier and Unison? What are your favorite brands of pastel? Do you work fat over lean (in the way pastellists use the term)? Lots of questions, I know. Sorry. :D

But there's one more. Please, if you would, tell us how you address the problem of framing such large pieces?

Oh Sharon, these just take my breath away. These are so very beautiful! And I really appreciate your generosity in sharing your creative process. Like everyone else, I'm wondering how you frame these terrific pieces.

Favorite Pastels and Framing
 

Hi,

These are done on the prepared MDF board as I have mentioned previously. This surface is so forgiving that a relative newcomer to pastel like myself can't screw up. You can wipe it off over and over again without wearing out the tooth. Also, as happened on my most recent oeuvre, I did manage to remove the tooth. I simply took a brush, removed the pastel and put some more of the pastel gesso on it and voila I was good to go. You cannot see the patch as pastel is so opaque.

I do a color study first. The only lean I use is to draw the darn thing. I have the colors I want to use and plunge right in. You have to know the colors you want, especially in the transparent skirt. I want the background to show through to make the tulle look transparent. Each stroke is important, each stroke has to be on the money, both in color and direction. If it is overworked, the quality of light is lost. It is very nerve-wracking and takes all the concentration powers I have!

I love the Unisons for their subltety of color. The really hold up to bold usage. If they had more of a complete color range I would mostly use them. I use the medium ones for the backgrounds. I love the brilliant colors and texture of the Schminkes.

I use the Senneliers because they have such an extensive line of colors, crucial when you are doing sensitive skin tones. Their tendency to crumble drives me nuts. Sometimes you cannot get them out of the wrapper before they fall apart.

These panels are 1" thick cradled in oak and weighing about 38 lbs. Traditional framing can be difficult and tres expensive. I simply have a Plexiglas cover made 4 1/2" deep and screw it onto the sides. It is quite modern, some people love it some don't. It gives the paintings the feeling of collectible dolls. My next panel will be aluminum. Im getting shoulders like a pro wrestler hauling these babies around.

Thank you all very much for you questions and interest.

Sharon,

I can definitely see these paintings hanging in the lobby of the Boston Ballet. Very nice, best of luck.

Bravo
 

Beautiful job. My favorite part (see below). IMHO one of the best heads ever to appear on the forum. Well done!

Oh Marvin!
 

I am blushing through the streaks of green pastel on my cheek! I look a bit like Kermit with a rash.

Thanks, that means a lot.

Lovely, Sharon, I've just been sitting in the gallery admiring them.

My only question is, are these studio pieces? Commissions? Gallery pieces? Are they for a particular show or are you building towards one? Primarily my curiosity stems from their massive size; so much of what I handled at the Corcoran of course was on the same scale, but that was the abstract expressionists. These days, there's not a whole lot of realism happening on that scale.

If you have the time, I'm curious for you to elaborate along these lines, sort of "size matters" issues.

I can imagine how striking they are when viewed head on - all of that rich pastel, large enough to walk into.

I'm going to get back over to the Ringling Museum, where they have a similarly-large pastel full-figure portrait hanging in one of the galleries. I'll report back on the artist, just don't remember off the top of my head. The work is on paper, however, and has not held up well.

I'm wondering if there's a large East Coast juried show along the lines of the Prix de West that you could get them into.

Awesome!
 

Thank goodness there are artists like you in the world, Sharon.

Work like this is the reason I check in to the Forum every day. Just to marvel at the sheer talent and to be inspired to try just that little more in my own work.

Thank you for sharing these with us.

Truly beautiful!!!!

Beautiful, Sharon
 

I keep trying to imagine these the size of my fireplace. They must be truly impressive in person.

Jean

Sharon,

Once again, I have to say that these works are simply stunning. As Mari and others have noted, the impact of these vibrant pieces is, doubtless, made even more so by their sheer scale. I so wish that I could stand before them in person. We've all experienced the way viewing beautiful art work sends a visceral thrill throughout our bodies. I've not been to a museum in a while, and I'm dying to do so when I make a trip to Washington, D.C. next month.

Mega-Kudos, Sharon!

You said that each piece took an average of three to four months to complete. I certainly believe it. Did you restrict your efforts to them exclusively, or did you also work portrait commissions during that time?

Certainly, there are shows and galleries that would be thrilled to display these works. Perhaps the East Coast Art Establishment is still, by and large, a rather hostile environment for art that employs beauty, heart and obvious skill. But what about points west? Specifically, I was wondering about certain parts of the southwest. Everything does not have to be cowboys and Indian maidens to be enthusiatically received there. In any event, I am confident that these art jewels will soon find a fitting exhibit space.

Sharon, you might want to think about showing them to the Frye Museum in Seattle whenever you're ready. They are dedicated to traditional realism.

Okay, whose husband is not getting dinner now? ;)

This is so beautiful! I especially love the way you used your colours in this piece. Such an inspirational piece or art!

Mai

Breathtaking
 

These are absolutely breathtaking, I adore painting ballerinas I can only hope to one day be half as good as this

Regards,
Geraldine

Beautiful work, Sharon
 

These are absolutely gorgeous, Sharon. What talent you have. :thumbsup: