My Latest Nude
 

Here it is; what do you think? This is a quick oil sketch painted from life in under 5 hours.

Jud, I noticed this thread received no replies. I think it deserves comment, even if I'm a month (?) late, especially since this "problem" is something I've been dealing with too. I've also posted images that elicit no response.

What do I think? I think it's a good start for a painting, which is about all one can hope for in a single session. I think it demonstrates the major problems that go along with sketching in oils within a short time frame . . . unresolved passages, and having to build upon a compositional snap judgment which may or may not be "great".

Anatomically, there appear to be problems with the shoulder and the attachment of the breast. Nothing that couldn't be worked out given enough time to refine and keep on painting. Solidity is convincing, as are the flesh tones, and I like your brushwork and paint handling . . . a lot!

What do you think of single-session painting? What are your goals for working this way?

I am involved with an art workshop known as The Torpedo Factory, aka The Artleague and they have a drawing/painting course where a model would come and a person pays to paint the model for five hours with breaks in between and a half-hour lunch break.

There are problems with the forms and drawing of the face. Rather than attempt an almost full figure painting like this one, perhaps concentrating on making the face correct would be a better way to go for your next attempt. There is also too much reflected light which is destroying the feeling of three dimensionality. I applaud your determined efforts, but mastering the fundamental forms of the face and being able to convincingly render its three dimensionality accurately should come first. Doing some Bargue drawings or cast drawings might be a good place to start.

You are right.
 

You are right. The face is disproportionate.

Judson, sorry to be late in responding to this. I saw it right before leaving for vacation and forgot it until your recent response came up.

I like it and I think it shows progress since your last postings. Your brustrokes and general paint handling are becoming more and more descriptive. Am I right in guessing that you feel more in control of these things? You also seem to be more comfortable using color. I am so glad you have started going to these sessions with the live model.

There are still problems with sudden transitions between light and shadow, and within the shadow, i.e. the closer breast seems to jump out from the woman's side (squint and you will see it, like the shape of a fish) rather than being attached to her body. A softer transition would help, and maybe a re-examination of the shapes involved in creating the illusion. Some of the same things happen in the face, in the shadow side. Within the shadow you have too much light-dark variation, too much busy-ness, and this creates the illusion of odd bulges and shapes.

I don't see anything wrong with working on paintings with complex lighting like this. BUT if you do, try painting in the shadow areas first with one color, then work the reflected light into the wet paint of the shadow. Try to tone down the variations of color and value within the shadow areas, purposely making them less than what you are tempted to do. The shadows will hold together better.

If you do get a chance to work on a simpler subject, that would be a good idea, too.