Two new portraits
 

Hi to all, here are two paintings I have (almost) completed, I still retouch here and there on the white shirt one.
When I arrived at the appointment to sketch and take photos I already had something in mind, to have them very "cool", one riding a chair, one sitting on the floor looking at the other one who was looking at us, all the dinamic between them.
I got there and not only I am told that they want two separate paintings, but I find the kids in jacket and tie, I had misunderstood the client who wanted something quite formal.
So... immediate change of plan, I had to improvise.

Anyway when I got home I started painting the oldest boy, figuring that he would be the hardest, but it was quite straightforward.
I was sure that the second one, with this open pose would just paint itself.
The second one was instead really hard: the usual problem one encounters when painting a set, scale and design, mainly, plus a very elusive expression that I just could not pin down.
I had problems a bit everywhere, the white shirt, the background, the head. At the end I decided to just put an end to it and give it out, otherwise I'll go on for ever!
oil on linen 70x75 cm
Any comment is welcome
Ilaria

Here are some pics of my troubles from the second painting.

WOW! Ilaria, your improvisations are really terrific. In both portraits I think you've caught something I can't quite put my finger on, but it's really alive and sensitive to who they are. With all the trouble you've had painting the younger brother compared to the older brother, this doesn't show at all in the latest versions. What impresses me is that you didn't run out of steam with the second one, but you persevered and worked through the difficulties, so that these portraits are equal in quality and in what they say about the subjects. So often, the artist's preference for one over the other (personally, compositionally, etc.) shows in the final product. I've been guilty of that myself.

There's only one nitpicking critique I can think of right now, and that is in the background of the older boy's portrait. The lamp on the right is a little distracting, I think because there are some sharp edges where the light is shining out under the shade, and also because it is bright and warm in comparison to the cooler light on the boy's face. If you could pull the focus away from that spot by adjusting the edges/temperature, I think this would be less distracting.

Dear Alex,

thank you for your compliment and your suggestions.
I am off to Italy this evening with the paintings in my car boot, and have my colours with me, so perhaps I'll manage to make the adjustment .
I can say that I did my best to go all the way, and I am very happy that you have recognized it, but I was dieing to get done with them, after almost three months that they are in my studio.

My concern in the last period of work was to really consider the background as important as the rest of the painting, and not dismissing it but really put it to use.
I prefer to paint people somewhere rather then with a neutral background, but I am conscious that it is dangerous and can take away rather then adding.

Unfortunately I won't be giving these out personally to the client and I will miss the 'presentation speak ', I trust they are good enough to speak for themselves.
Happy Easter
Ilaria

Ilaria, I like these very much. It seems to me that you have caught the physical energy of these two boys very well. There are a lot of nice compositonal things going on here, including the placement of the painting behind the second boys head, and I am a big fan of your palette..

I'm jealous of you. Three months is nothing! I am working on something similar to you (two brothers, two seperate paintings) - every time I think I'm done with it I just keep tweaking it again, despite all the preliminary plans I made, lifesize cartoons, etc.

Linda, I was actually wondering what happened to your dyptich, the one I shamelessy copied, I mean !
Still at it? I am sure it will be gorgeous
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Ilaria

!!! I've been working on that diptych so long I forgot I showed you the initial layout. I've been looking at a lot of Burt Silverman's work over the past year and I decided I was going to do a lot of scumbling on those large surfaces. Somebody needs to come along and take the brush out of my hands.

Your paintings here are very fine indeed!

Ilaria, I really like the way these two painting look as well. They have a certain contemplative mood about them and by keeping the background rather vague it adds to that feel of the viewer peeking into "their world".

Thank you Enzie, sorry for being late in answering, I was in Italy for Easter and am just back in rainy London.
I am glad you like the background because I found it very challenging, and tried hard to keep it a little blurred.
Thanks for commenting
Ilaria