Sarah, five years later

[Tom Edgerton]

This is Sarah. I painted her five years ago, when she was three (it's on my website). I've had a strange mix of emotions painting this; I could see who she was and who she'll be at the same time--she's right on that edge.

I'm fairly satisfied with it. The advantage of painting all those back- and side-lit kids I've done lately has been to teach me to turn form with color, as the face in shadow doesn't offer a lot of value contrast to grab onto. So I'm gradually getting better with color. We shot this about 7AM to get the low angle on the light.

The color of the dress was a bear to paint. It was a very delicate pink, and all the green banging around in the environment tended to neutralize it. But I didn't want to boost the color saturation to a hotter pink, either, just to hold onto it.

I liked the location, and so I like the composition--and a few eleventh-hour suggestions from Linda B. saved the bacon there too. Thanks, Linda for looking over my shoulder.

The color of the scan is about right, I think.

[Louise T. Dailey]

Tom, Oh, this is so lovely. She has such a comfortable look about her. The whole thing is really wonderful, and I love those feet. Would it be trouble to post close ups? Looking at paintings like this make me want to just forget all else and work in oils exclusively.
Sincerely,
Louise
PS-I think it is funny that you think your bacon *needed* to be saved!

[Kimberly Dow]

oooo - this is just gorgeous. The portrait is so well done, but I just love that background.

I'd like to see close-ups as well please.

[Julie Deane]

This is lovely, Tom.

As a current student of "how to" in compositions, I see a lot to admire (hope I'm on track with these observations!):
the compositional device of those trees in the background - they make my eyes jump from foreground to background - they have a nice "pull" factor. Keeps the eyes moving around the picture. Also, the "s" negative shape of the light area in the background, fitting so nicely with that same shape in the girl's body. And the ivy off to the right adds a nice balance.

The painting, as always, absolutely gorgeous. Closeups?

[Richard Monro]

Tom,
This is beautiful. I loved the way you model with the use of color.
Please post a close up of the face. It is a good lesson for many of us.

[Linda Brandon]

This is such a charming and well-crafted painting, Tom - another beautiful example of the humanity you bring to your sitters and the control you have over your medium. I always look to your work to see how these outdoor portraits are supposed to be done. Tom almost makes it look easy, but it sure isn't.

(I wish I could say I could take some credit on this one, but Tom is just being kind. ) Closeups please!

[Garth Herrick]

Oh Tom,

This is truly lovely, and you nailed that elusive pink dress! I love how you composed that ivy transition to bridge the foreground wall with that lush green background setting. Brilliant! It's all so cohesively and beautifully designed; another winner!

Garth

[Sharon Knettell]

A beautifully realized painting. You can feel the softness of the warm afternoon air. Another winner Tom!

[Mischa Milosevic]

Tom, Sarah is lovely! I can see and understand your meaning and the difference between then and now. I have visited your website before and Sarah Smith at five has been my favorite painting. I was amassed in the way you captured her youth and the sun lit hair just awesome. Sarah now is growing up and she is looking lovely. Tom the execution is supperbe. Composition ditto. The Maestro would be pleased. Are you sure you are from Greensboro and not from La Rochelle?

Sincere regards,
mischa

[Tom Edgerton]

Well, you all are very kind. I appreciate the good words.

Julie-- There are a lot of repetitive s-curves. I started to see them and bring them out as I worked. She took that very elegant, grownup line when she sat down, and I almost jumped out of my skin! (She's still a little bitty thing.) I tried the background without the middle-distance cedars, but the eye went too deep and kept going, so I put them back in (the twin trees were really in the scene). This was a good example of an "arranged vista," that landscapers love. The story was that the husband came home for lunch and about fifty tree cutters were felling some VERY large trees to make that tunnel to the lake--it was originally all forest. I give the client credit for her vision, as it's a beautiful spot.

Linda--It always helps to have another eye. I'm not sure it's all resolved even now, but I'm moving on to the next painting. Thanks again for everything!

Garth--I tried some shrubs at the bottom, but they pulled the eye down. So I went for less is more, for better or worse. I appreciate your comments so much! See you in Dallas.

Mischa--Thank goodness there are the masters to look back to when struggling with the painting!

Thanks again to everyone. I'll draw energy from your comments for today's work.

Love to all artists, everywhere--TE