Portrait of Jamie
 

This is my latest painting and thought I'd share it with you fellow forumites. It's 14 x 18 inches, oil on linen and was painted using Gamblin's new medium, Neo Meglip.

Marvin,

When the picture was loading I thought you had accidentally posted the reference photo first. It is so lifelike. Beautiful hair!

Gorgeous! Very sensitive. A person could get lost in those eyes.

Renee Price

Dear Marvin,

This is a wonderful painting. Even on my monitor I can see your beautiful handling and sublety of different areas, such as the cast shadow under the nose.

This is a painting that shows the viewer more every time it is seen. Congratulations are well-deserved.

Marvin,

You are indeed a Master at your craft. This portrait is so lifelike the boy could almost walk off the canvas! I agree with Sandy about the hair. I was already in awe of the way you did the portrait of Julia, esp. the hair! If you ever want to give us some tips on making lifelike hair in the technical section, it would be great!

Just say WOW
 

Marvin,

Really all I can say is WOW. I see into his thoughts, I think???? The eyes have it and the skin glows. Please do tell me about how long you work on one painting like this?? I think I still don't have enough patience.

I just received my order of meglip in the mail and even though it looks like liquin -- I know it isn't!! I'll start trying it out tomorrow - even though the technique I am using right now is thick straight paint with knife and big brushes (except the occasional figure in the chair, etc.).

I was in Charleston, SC this past week and caught some of my favorite painters' work at Ann Long Gallery. I would imagine you are familiar with these artists. The show is called American Realists and features Kamille Cory (wow), Ben Long (a fellow NC resident), Jill Hooper (teaches at College of Charleston) and a few other noted artists. It was amazing seeing their work up close as I have only seen flyers, magazine and internet images before last week. I am truly amazed at their work. Jeffrey Mims work was not represented, maybe they sold his.

The portrait is wonderful as is all your work!

Hair detail
 

Thanks everyone for all your kind words.

I'm enclosing two details of the painting, one of his hair and one of his face.

I really have a hard time viewing my work on the web. I feel that by reducing the size of my paintings and then delivering the information at 72 dpi much of what I'm trying to achieve is negated. It appears that painterly works can more easily maintain that painted look despite the limitations of digital reproduction.

Perhaps the details of this portrait, which are reproduced here larger than they appear in the painting, will give a better sense of the paint quality and color subtlety that I work so hard to maintain.

However, since I am working for the appearance my final painting will have on the easel and not on the monitor, I'll just have to suck it up.

In terms of painting hair I try to emphasize the softness in my paint application. I am most interested in portraying the variation of surface texture. The only way I know to achieve this by staying aware of the intrinsic qualities of each surface I render. Sometimes, when artists choose to work in a more painterly fashion, they must sacrifice a certain degree of tactile textural qualities. In the end it just comes down to personal choices.

Face detail
 

I hope you can see the subtle color scumbles and edge manipulation. I really love to get into it. Each tiny manipulation of paint yields results that spur me on.

Marvin,

Could you also post a close-up of where the hand meets the chin? I like your edges and this is an area that befuddles me (in my own work)

BTW - From your thumbprint I see a strong resemblance between you and the boy (nose and chin), are you related?

Hand and chin detail
 

Sandy,

Hope this helps you. Thanks for commenting on my edge handling. I do a lot of edge manipulation to help unify forms and create atmosphere. I utilize an analytical approach in which I sharpen to bring things forward soften to meld things together.

I know some artists advocate squinting to determine the relative sharpness and softness of edges. In my opinion this leads to the sharpening of all high contrast edges especially those outside form edges. I find that sharpening outside edges tends to give the painting a flat photographic look, regardless of whether it is painted loosely or tightly. For edge handling inspiration I look at the work of William McGregor Paxton and William Bouguereau.

And finally, fortunately for Jamie, he's not related to me.

Stunning!
 

I'm not worthy! I'm not worthy! :)

Thanks Marvin. Fabulous.

Once again, I bow down to your edges. :)

Lessons to save
 

Thank you so much for sharing details of this exquisite portrait!

You made an earlier comment about choices: painterly vs. the sublime detail found here. I am really on the fence over this question in each painting I plan. You have inspired me to explore future faces with greater detail, perhaps keeping backgrounds and minor details loose to appease my impressionist spirit!

Again, my humble thanks.

Don't try this at home
 

Jeanine,

Pardon my little joke in the caption. I just always wanted to say that. Seriously, I appreciate your response to my painting and am flattered that I

Fair warning
 

Dear Marvin,

Thank you for the wise words of caution. The virgin sacrifice analogy will not be forgotten! Before I get out my fine sable brushes, I shall imagine the fiery pit and check my big shapes and planes first!

These principles have been taught by my Impressionist teacher, George Passantino, who is constantly reminding us to work "Big to small" and "Preserve the plane as details are added." You have really brought the point home with crystal clarity.

Bouguereau is a brilliant reference. I shall visit museum temples housing his work to pay homage and learn!

Do you photograph your work in stages? I'm probably not alone in wishing to see more. I'd be happy to buy your video, or book or take your course!

No soap, video!
 

I just can't resist a good pun. I don't really shoot my paintings in progress. I actually shoot my own 4x5 transparencies when my paintings are completed. In order to do this I have to disassemble my studio to set up my photo lights. No video yet either, however, I am teaching a 5 day workshop from July 29th thru August 2nd at the School of Visual Arts. I have several students in my class who come down from Connecticut. It's seven hours per day and a good time should be had by all.

Marvin,

I would recommend that every one of us take the time to seriously study the work on your website. Your clear, clean, orderly interpretation of your subjects is based on a long worthy tradition. You have indeed learned your lessons well, for your style is at least as difficult to do as it appears to be.

And for those who are seriously interested in this type of work, I would recommend you look at the work of Claudio Bravo http://www.puc.cl/faba/ARTE/MUSEO/MuseoExpoBravoI.html

And Meredith Frampton
http://www.artrenewal.org/asp/database/art.asp?aid=170

Years ago I saw Frampton

Mr. Whitaker,

Thank you for the links.

You can see on the web that Yuqi Wang has a most masterful hand with skin texture. Gorgeous work!

William,

It is always a thrill to have my work favorably responded to. Having an artist of your talent and ability so graciously compliment my work is beyond description. I have been a fan of Claudio Bravo for many years and have had the pleasure of meeting Yuqi Wang on several occasions. Until today I was unfamiliar with the incredible artwork of Meredith Frampton. I am honored to be considered along with such an accomplished group of artists.

Although I am inspired by a wide range of realistic styles (some painterly, some highly finished and some in between) my own natural inclination has always been to develop my paintings in a more resolved way.

Unfortunately, I find that many artists are predisposed to a certain approach and automatically dismiss or invalidate that which goes against their own personal grain. I have always tried to judge art on the basis of how successful it is for what it is. However, I find myself highly critical with respect to paintings stylistically closest to my own, since the paintings I am most apt to criticize are the ones I

BEAUTIFUL!!!

I moved the original post here to a new thread under Techniques, Tips, and Tools because I did not want to take away from Marvin's work with a side discussion. The thread is titled Painterly vs. Detailed. http://forum.portraitartist.com/show...&threadid=1390

Jamie
 

Marvin, I love this painting. I keep coming back to it just to look. He has such a soft fluid look to him that the word that comes to mind is "aquiline". He is the definition.

Thanks
 

Jean,

Thank you for your kind response. I get great satisfaction by painting portraits. I put my heart and soul into every painting and I'm always happy when a portrait evokes a strong reaction.

Thanks again, you made my day!

Marvin where is your portrait? I was looking forward to a great treat and I see nothing not even the usual box with an x in it?

Tammy

Tammy,

I don't know why, but it happens like that sometimes. Try this: right click your mouse on the red "x". A box should appear with options. One should read "show picture" click on that and another attempt will be made to load the picture. Sometimes that's all it takes. Other times the problems are more severe and won't be solved this easily.

I'm seeing the picture just fine Tammy. Also try clicking your browser refresh button.

Thanks, Cynthia and Mike but I still get nothing maybe my pc is on strike.

Tammy

Stunning and I love the detail you have shown... the lips... has anyone mentioned the lips? :thumbsup: