Anna

[Jean Kelly]

This is the first time i actually just started with a blank canvas and let the paint create the figure. What fun to be free of a line drawing, and just build up paint.

18"x36" oil on linen

Still have of things to do, but you'll get the idea. I'll be working on hair, toes, and anything else that pops out.

Jean

[Allan Rahbek]

Hi Jean,
It's great to see you around.
I like the energy of your nude painting in autumn colors.
I have a couple of suggestions if you are interested.
The pose looks a bit uncomfortable with the leg's. I would expect that the right leg would rest more obviously on the left and maybe would be bend a little. That would make room for variations in the light and shadows.
Try to not mark the collar bone and the muscles of the neck that much and like vice the folds on the side, or I should say, try to wary the shapes more so that they don't look like rope.

[Jean Kelly]

Hi Allan,

I've been doing so many old houses and landscapes lately that I just haven't been around much. It feels really good to do something just for fun.

I was hoping someone would comment on her legs. I used a photo reference (copyright free, for artists) for this painting. Every real human that has agreed to model nude for me has chickened out, so being out here in the woods I had to resort to one of my art books. Her leg was actually even higher and more tense, I lowered it quite a bit already, but really was on the fence about relaxing it all the way down due to the lack of a model. So, I am left with the prospect of using my own legs to see just how the shadows fall. This should be fun (sarcasm)!

I've already toned all those areas down, the collarbones etc. Thank you for the second eyes though..... I always appreciate your comments.

jean

[Jean Kelly]

Well, I thank you Sharon for having the guts to be honest. Luckily for me, I have more time in preparing the support than in the actual painting. It was done fast and dirty!

My shoulder injury makes it impossible for me to drive the 2.5 hours to the nearest college, and actually participate in a 3 hour figure class. So I do the best I can. I'm surprised that I got something even resembling a human figure using this technique, but I did have fun. I looked up the book and plan on purchasing it, it looks like a good one.

I get extremely frustrated with myself and these new limitations, I can remember when drawing was effortless and painless. But, since I am not supposed to be able to use my arm much at all (docs gave me a gloomy prediction of maybe 45% recovery), I still consider this a personal victory. And I will continue, until I can paint with the authority I once had. Maybe just slower.

Again, thank you for your honesty.........a stupid injury is no excuse for bad drawing. I will continue to look for a model, you gave me an idea to try that might work out here in the boonies. I'm surrounded by "primitive" artists, but know one woman who may want to work from life. I'll try to talk her into it.

Jean

[Sharon Knettell]

Jean,

I cannot believe what a positive difference it made for me, jumping into painting from life.

Years and years ago, I thought working from a photograph was just fine. Fortunately I am near the Boston Museum of Fine Arts. Looking at the 17th, 18th and 19th masters disabused me of that idea. I could not understand why their figures were so luminous and fresh compared to mine.

Actually, I find it much easier and faster to paint from life. You will surprise yourself.

Today college students are desperate for money. They would appreciate a nice safe gig like yours!

[Jean Kelly]

I'm working on it , Sharon. Steven Sweeney has an extra copy of the book and is sending it to me. Believe me it is much appreciated.

I had some more fun with my Anna before I wiped her out, some google eyes and a big fat butt. Halloween is just around the corner! Now she's just a ghost image on a brand new support, waiting for the next inspiration.

Jean