Ben and Samantha

[Linda Brandon]

Hi Michele,

I love the feel of this painting: cozy, snuggly, fresh. The composition adds to that impression, and I think that cushion edge helps to visually "nest" these children. You have captured a wonderful relationship. I like your paint handling, too.

Kim and Lisa are right about Sargent's subjects. They look as if one of them lit the parlour curtains on fire and each is only too ready to implicate the other. (But I like his painting, too.) Stylistically, his is a more "dramatic" painting than yours, both in terms of value massing and in color selection. (Is this what you were asking?) If these were my children, I'd rather see them snuggled together - I'd chose the portrayal of a close relationship over the "drama".

[Peter Jochems]

Hi Michele,

If you don't want to have digitally altered versions of your painting in this thread, feel free to remove this.

I tried to change certain things in your painting to show what might take you closer to Sargent. These are just suggestions, of course.

I darkened the whole image and made the white clothing of the girl lighter, so there is a sharper, more dramatic contrast.

I made the pants of the boy black, instead of blue. Both children have blue pants in the original version, but making the boys pants black makes a stronger division in
values.

I made the seat lighter on the right side, this gives an opportunity to get a very dynamic brush-work in the painting. And creates a more spatial impression, I think.

I made the pants of the girl of a deeper blue, and made it darker in some areas.

I created a 'line of light' in the edge of the white pages of the book.

In the background, with the Sargent as an example I made the red background even warmer and lighter.

I made the shadow-side of the children's faces warmer.

The grey clothing of the boy, I made it a little bit darker.

I darkened the foot of the boy a little bit, and lightened the hand of the boy a little bit.

I darkened certain pieces of the painting in the background, and lightened other pieces.

I darkened the left side of the seat a little bit.

Of course, this is easier than painting it

I really like your painting as it is, but you asked for it !

Peter

[Michele Rushworth]

I really like your modifications, Peter. I think it brings more unity to the piece. Thanks!

[Jean Kelly]

Michele,

I'm looking forward to the completion of this painting. I hope you don't get too "Sargentesque" though. I love the warmth of this one and got a good laugh out of Lisa's comments.

Jean

[Linda Nelson]

Hi Michele

I love your painting! - I think it's great as it stands.

Congrats - this will be a great one to attract commissions in my opinion. Maybe do a postcard and send out a mailing?


Linda

[Chris Saper]

Michele,

You have done a beautiful job on this painting. I would have to work way too hard to try to find something I might add.

[Timothy Mensching]

...

[Jeff Fuchs]

Timothy (Tim?),

You don't come around here often enough! I loved your painting of John Henry, and I was hoping you would be a more active participant here.

It will be fun to follow your budding career and to learn from an up-and-coming master.

Jeff

[Michele Rushworth]

Thanks, Tim, for your input. I delivered the painting to the client (with a few small changes compared to what I first posted) over the weekend and she was delighted. However I am still most interested in the ideas you and Peter proposed regarding lighting, for my future works.

Sargent was indeed a master at lighting. I particularly like his few paintings which were lit by artificial sources.

In this painting I did of the two kids, the relative strengths of the two light sources made it a softer less dramatic painting than what I'd like to explore in the future. The kids were in a room near a very big window (the large, cool, and diffuse light source from the right). The lamp was much weaker in comparison (the smaller, warmer and more "specular" light source from behind them to the left). Changing the relative strengths of those light sources makes for some very interesting changes in mood.

Much as I love window light, I love drama in lighting even more. Eventually you'll all see a painting I'm working on that is lit only by the smallest, warmest light source possible: one candle.

I remember Marvin pointing out Eakins' comment that light is the big tool. It determines so much in the mood of a painting, the direction in which the viewer's eyes move through a piece, the sense of form, etc. Perhaps light is THE very biggest tool, the MOST important aspect in any painting.

[Dan Saunders]

Hi Michele,

I love your painting as is. Your work is softer then Sargent's (I prefer softer), and as was pointed out, the only real difference is "contrast".

If you wanted your painting to look more like Sargent's (I still prefer yours), deepen the shadows and brighten the lightest lights.

Dan