Oil sketch
 

I am commissioned to paint a portrait of the President of the University of Zadar (which was founded in 1396, btw).

This is a 12 x 16" preparatory oil sketch. It is actually a test painting, one that helped me to solve the most important problems (composition, color scheme, values, details etc) and to test the ideas that I might come upon during the work on a final, 32 x 24", piece.

This is a test sketch? I can't wait to see the actual painting, then. It's gorgeous; the color and detail are so richly painted. Are you planning to make any changes in the larger work based on this?

The size of the final painting will be larger, but the format is the same.

Perhaps I'll do some minor adjustments, since when you work on a larger scale (that is - when you blow up your sketch), some specific problems might occur.

However, being pretty happy with the composition, color scheme and the values, I do not think there will be any major change.

Very nice work Valentino. I really love the composition and the color scheme. I am eager to see the final piece. Keep us posted.

Valentino, this is wonderful and strong.

Could we talk you into turning this post into a Work-In-Progress progression? I would love to have the opportunity to pick your brain a little, something not really "allowed" in the Unveilings section.

Here's a sample question that I have: Was the furniture behind his head darker in fact, and did you lighten it to make his head more prominent?

Linda, I accept your suggestion, but the painting will take some time, since I intend to employ layered approach. Therefore, it might pass a week before a new photo is posted. Besides, I have to work on some other, non-portrait commissions.

Regarding your question: you

Btw, I have seen the pics from Bill Whitaker's most recent workshop at the SAS.
What one can say? Great maestro, great portrait and (last but not the least) - a great model.

Dear Valentino,

My apologies for not getting to post earlier. I think this will be a fantastic piece! I think I agree with you on the cabinet being darker. If you find it looks a little lopsided, you could probably solve it with some darker wainscoting to connect the figure with the right vertical edge.

I

Hi Valentino.

Thank you for sharing your painting process with us.

I think that you do right in moving the cabinet a little to the left to avoid the conflict with the Rectors head. This also make a better flow in the diagonal.

I hope that you will share many more of your thoughts along the way.

Allan

No part of this painting is finished yet (though the armchair is almost done). Regarding the cabinet, the more I look the sketch, the less I'm inclined to include it in the composition of the final painting.
I think I'll put the drapery of some sort (or curtain) behind the sitter, instead.

The work on this commission took more time than I thought. Since it

A completed painting...

The colors are, as they always are, a bit off. The original background is a tad warmer and more neutral.

Fantastic! I'd love to see some close ups of his hands and face.

Bravo! Valentino, you aquitted yourself very well with this piece. I think you solved all your initial issues with panache. Those reds are delicious.

I think your client will be very pleased.

Wonderfully done! Congratulations. Has it been unveiled at the University yet?

Thank you.

The portrait has not yet been unveiled as I have just delivered the piece.
Here are some closeups...
The face and the right hand look closer to the original painting on my PC monitor than the left hand - which has a cooler, almost blueish cast - due to the fact that these images are not part of the same photo, but a different shots.

Breathtaking closeups. Thank you for posting them.

Btw, those reds look waay better on the painting.
They lean more towards crimson than red-orange. I have rendered those areas with several layers of alizarin glazed over initial vermillion underpainting.

What a beautifully painted face and magnificant hands to study. Thank you for posting.

Luscious skin tones, Valentino. Congratulations!

Valentino, this is why I love this forum. It makes me want to try even harder,when I see paintings like yours.

Knowing that at some time in the future, if I can accomplish a portrait ike you have, with this exquisite quality and ability (that you have) has to be uplifting for the spirit and the heart (that you must feel).

I just hope I get to feel, (like you feel) after you accomplished this masterpiece. I would want to bottle it. Congratulations.

Valentino, I can just echo the above, your do great skin, and I have to add your edges are wonderful.

They must have been/will be very happy!

Very nice, Valentino.

Valentino, I love this strong painting, especially the facial expression and the dramatic way you've arranged the composition. Terrific!

Valentino -

Excellent Job - I especially appreciate seeing the details of the painting - excellernt execution!

Congrats, and I hope this helps you get many more commissions!

I also hope it will do... :)

(Well...as a matter of fact, it already did. Upon seeing the painting my sitter commissioned another portrait - for his home. The next one will not be a replica of the first. The composition will be different - a standing pose.)

This is so fabulous! I scrolled up, but couldnt find the size?

I love rendering the flesh tones.
As you can see from the wip shots, in this work I employed layered approach. The skin tones were achieved by both glazing and scumbling in several succesive layers.

Looking at the portrait paintings throughout the history, I noticed that in my favourite ones very important role plays the cool-warm contrast. Some artists, though, use only warm colors

I mentioned the size in my initial post in this thread.

It is oil on canvas and measures 32x24".

Excellent work Valentino, congratulations!

At this size, is your subject is somewhat smaller than life size? Somehow I aways pictured this to be life size in my minds eye, perhaps due to your monumental compositional skills.

Sorry for my delayed visit and response. Thanks for showing us how your painting process works. I think this is helpful to the rest of us facing daunting portrait commissions.

Garth

Thank you for the kind words, Garth. My subject is approx . 1/3 smaller than the life size. I would like to see some more of your work - Apotheon and Laura are both excellent works.

They say that you are only as good as your most recent painting. I always try to do my best + a little bit more, particularly when it comes to the commissions. If you do a good job, it may attracts new potential clients - as it was with this commission which I have gotten after my client saw one of my previous portraits.

I feel I have yet a lot to learn, especially in the field of portraiture. Admittedly, I have graduate from Academy of Fine Arts, but printmaking, not painting. This was my fifth or sixth portrait in oil and, of course, there is much room for improvement. Therefore I am intensely studying old masters, particularly those from baroque era and 19th century academicians. In the works of those artists one can find solutions to all the problems a realistic painter might encounter.

Regarding composition, I have had some doubts regarding how the background should look like. I opted for a simpler one, even started to paint drapery (a curtain, actually) on the left side, behind the sitter. However, after some persuading from the fellow artists I changed my mind and decided to include the cabinet in the painting. Their arguments made sense - it additionally describes the sitter. However, I've made the cabinet a bit simpler than is the actual one, otherwise it would have detracted from the subject.
So, the items inside the cabinet and the reflections on the glass had to be contrived, and I spent considerable amount of time trying to get their look (and textures) right, and at the same time not to overemphasize that part of the painting.