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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.
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