Chromatic law from Impressionism
 

Allthough this "colour complementarity" is visible in all Monet 'works, there are few portraits showing this technique. What do you think about this painting? Can you obtain complementarity even from a photo?

Hi Adriano,
This is one of yours, right?
You draws so well, but I think that your touch is closer to Renoir than Monet, what do you think ?
I see blue and pink strokes in the complexion and think that it works well. Your edges are really something.

Keep on posting, Allan

Hi Allan
I wish it were mine! I would be a millionaire!!!!
It 's one of Gustav Klimt's portraits.
The complexion is what I wanted you to notice.
I'll send another one.You should know it.
Ciao

Adriano,

When you talk about getting complementary color in portraits from photos, do you mean 'working' from photo reference as opposed to working from life or are you asking if we can see the complementary color in the Monet example?

Hi Sharon
I meant working from photos.Obviously you cannot see the complementarity on a photo,but you always do a complementary choice when working, first when you take a blue-grey or agreen-grey paper (it's complementary to the complexion) , second when you put on paper colours that mixed toghether let you get the complexion from a distance. Tomorrow I'll post a visible procedure so you 'll understend.Of course you must have been learnt it after painting from life before applying it to a photo.
By the way , the two portraits above are from Gustav klimt ,the great master that in spite of been realistic used the complementarity law from impressionism.
Your paintings are delicious to me . I admire who does things that I would't even think about. Strong and equilibrated colors and a beauty of a fimale face that seems childish , sensual and regal at the some time.
Ciao
Adriano

Hi Sharon I'll hope you 'll like it
I begin whith a drawing by a brown color pastel pencil!

Secondarily
I put the pink complexion to cover the blue -light color paper !
It's iust an eye, but the procedure will suit in general for a nude or a figure.(putting light color first ,controlling the balance allover the painting)

I put half tones looking at how cold or hot are the different parts of the face.I've never used my fingers. I know my colors so I should tell you
the exact name ,next time , if you want to, I'll tell you the palette.

Now I continue to mix colors that I know ,for example orange and green or violet and yellow, being carefull to tone toward cold or hot color. I haven 't use my finger yet.

I did a mistake before putting the some painting, anyway I''ll continue.
Now I go on applying strong colours and, using the little finger at the end, getting shadows (under the right eye or on the eye-brow).I can use couples of complementary colors because I know them very well.
When I buy the pastel colors I don't need to watch the pastel -number ,I can say it's all right just looking at it.
If I don't have a white-blue I dirty my finger on a blue spot I made before (you can see it on the right) and I cover the white ,
so the light should be cold.
Ciao