Dewing

[Elizabeth Schott]

Interesting you should say that Marvin. In one of the works I posted for critique, it was wisely suggested I purchase "Oil Painting Secrets from a Master" which features David Leffel.

I think I really botched what I was trying to say by Leffel, that I got my book to quote from...

Learning to paint then, is learning how to see, to retrain your eye to see not just details, but what is significant enough to paint. This is the crux of learning to paint. On the technical level, learning to paint is relatively easy...the essential difficulty is learning how to see, see as in understand, and to see what is significant. An artist sees what is significant, a painter sees only what to paint.

I think that is a great tag line!

[Elizabeth Schott]

I wanted to add this little gem:
Thomas Gainsborough. "Robert Andrews and His Wife" c1750. National Gallery, London

[Timothy C. Tyler]

I like the other examples better than the one I posted. His surface is magical and an artists' surface. I still say the one I posted looks like there's something under the skirt - this is so obvious that it bugs me. I'm not sure it should bug me.

It also bugs me that Faulkner had two main characters with the same first name in one book and never tried to identify clearly either. I fall back on the old adage; "In painting, if it's right and it looks wrong - it's wrong AND - if it's wrong and it looks right - it's right."

What is under that skirt?