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.