Apotheoun (Tom at Eleven)
 

Hi Everyone,

Here is my first unveiling. I would be interested in any thoughts or reactions to this work. It was begun near the time I joined this forum, a few weeks back in March. This forum has really inspired me.

Apotheoun, oil on linen, 30 1/2 " x 35 1/2 ".

This painting is a reinterpretation of another work I painted in 1994, which refers to the source image I photographed back in 1981. I like this new version much better.

This painting is part of a special exhibition which opens tomorrow, Sunday April 4, 2004, and runs though April 25, at the Philadelphia Sketch Club. The exhibition is in honor of one of the finest instructors in the history of the Pennsylvania Academy of the fine Arts, and is entitled: "An Instuctor's Legacy: The Pedagogical Work and Students of Arthur DeCosta." I feel fortunate to have been one of his students, as he taught me most of what I value in painting. I also feel fortunate to be among the 27 exhibitors which include Bo Bartlett, Brett Bigbee, James Brantley, Vincent Desiderio, and Stuart Shils.

I know this is an unconventional approach to a portrait, but I felt free because it is not a commission. In this painting I was mainly focused on the tonal qualities of the imagery, especially in the play of sunlight accross the boy. Developing the extremely close tonal values was a tricky challenge for me. Toward the sfumato, I used a number of very subtle hazy velaturas , as well as lightly dragged scumbles.

Thanks, and if you are in Philly, stop by and see the exhibition.

Dear Garth,

I am not sure where to start in conveying my reaction to this painting. First, I find (again) the composition to be original and daring, and completely, to my view, satisfying. Your ability to understate, yet beautifully depict, the subtlest of color, value and edge transitions is completely delightful. And wow , the reflected light and color on the boy's torso -

When you get a chance, would you post some close-ups and some extreme close-ups?

WOW Chris,

Thanks so much! I wish I had extreme-close-ups, but unfortunately I was in such a hurry to deliver the painting, that I only shot a few general pictures like those above. I will attempt to shoot some more at the show opening later today.

Actually, the closer you get to the painting, the more it appears as a blurred image. The canvas texture is the only giveaway that a photo of the paint surface is in focus. Maintaining a soft rendering, and not getting pulled into all the nit-picky detail of the photo, was the toughest part for me. I repainted everything over and over until it began to look about right, with just a slight understatement, if possible. Sometimes the less said (in paint) about a nuance, the better.

Beautiful!

Thanks for reminding me just how high the bar is that I'm aiming for. Makes me want to go up into the studio right now and get back to work!

Garth -- wow! Stunning. Feels like we're right there with them. Scuffed espadrilles and all.

Geez Michele, That is exactly the reaction I had about this forum when I started this painting. I was quite intimidated by the height of the bar myself!

Garth, I'm looking forward to the close-ups.

Jean

Congratulation, this is really a fine example on how to subordinate values to the "Big Picture".

I recognize it as a detail from your "Apotheosis of the Chunnel"
You just proved that photos can be used, unless you have an extremely long memery for color.

Allan

Garth,

I love your original composition, and it is so well painted. I would love to see closeups of the forms of the bodies, they're rendered so beautifully. It is a treat to look at!