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Marvin Mattelson · 12-11-2002, 08:01 PM

Linda,

Thanks for not reading the entire thread. I am not being facetious since you have reiterated my original supposition that the illusion of most complexion hue variations is an optical and should be FIRST attempted using neutrals in a painting. However you may in the future want to check in after reviewing the previous twists and turns.

My original purpose was to point out that artists trying to get a grasp on the complexities of painting complexion colors are far better served by taking a simpler approach as opposed to trying to load up their skin tones with lots of color. This can easily result in muddy and garish color. Also I was talking about seeing relationships versus going by formulas.

I feel too much minutia is analyzed and focused on without addressing the big issues that underlay the painting experience, getting unity and form to name two. A three dimensional egg is more valid expression than a flat juxtaposition of features, if you want to tell the truth about a head.

I also mentioned that my original premise was prompted by my recent field trip to the Met and that my observations were based on actual portraits such as Rembrandt's portrait of Herman Doomer. I applauded the portrait of Rembrandt's wife posted by Michele because it clearly demonstrated his use of neutrals versus more chromatic hues similarly to the Herman Doomer painting. However, the neutrals at the Met didn

12-11-2002, 08:01 PM	#6
Marvin Mattelson SOG Member FT Professional '04 Merit Award PSA '04 Best Portfolio PSA '03 Honors Artists Magazine '01 Second Prize ASOPA Perm. Collection- Ntl. Portrait Gallery Perm. Collection- Met Leads Workshops Joined: May 2002 Location: Great Neck, NY Posts: 1,093	Inconclusion Linda, Thanks for not reading the entire thread. I am not being facetious since you have reiterated my original supposition that the illusion of most complexion hue variations is an optical and should be FIRST attempted using neutrals in a painting. However you may in the future want to check in after reviewing the previous twists and turns. My original purpose was to point out that artists trying to get a grasp on the complexities of painting complexion colors are far better served by taking a simpler approach as opposed to trying to load up their skin tones with lots of color. This can easily result in muddy and garish color. Also I was talking about seeing relationships versus going by formulas. I feel too much minutia is analyzed and focused on without addressing the big issues that underlay the painting experience, getting unity and form to name two. A three dimensional egg is more valid expression than a flat juxtaposition of features, if you want to tell the truth about a head. I also mentioned that my original premise was prompted by my recent field trip to the Met and that my observations were based on actual portraits such as Rembrandt's portrait of Herman Doomer. I applauded the portrait of Rembrandt's wife posted by Michele because it clearly demonstrated his use of neutrals versus more chromatic hues similarly to the Herman Doomer painting. However, the neutrals at the Met didn __________________ Marvin Mattelson http://www.fineartportrait.com [email protected]