George Passantino

[Jeanine Jackson]

28" x 22" oil. This is Phase Two. Broad areas of color were applied thinly using large brushes. Changes would be easy to make now. Thank you for any comments.

Admin Note: The photo source has been posted in "Works in Progress."

Hi Jeanine. I really liked this composition when you first posted it. The balance of light to dark is nice. I think it will be a lovely tribute to him.

I noticed a couple of things. You should probably check the relative size of the head to the shoulders, and the relative size of the shoulders to the hips. Vertically, the height of these relationships should be double checked too. It seems he's getting bigger as we go down, but in the reference this was not quite the case. Also the relative size of the head to the canvas right behind him was different in the reference, making him look more masculine, and less intellectual, so I suppose that would be a artistic choice on your part to make but something to consider.

Good luck, and please post more of this.

Lisa

[Jeanine Jackson]

Dear Lisa:
Subtle observances observed. Better?

[Marvin Mattelson]

Hi Jeanine,

I just thought I'd throw out a few things here. The most important thing that sets up a painting is the value structure. This is what the eye processes and the brain subjectifies.

That's why squinting helps to clarify both the scene before you as well as your painting.

When I squint, his head all but disappears. The dark values are all clumped at the bottom and the right. The middle tones of the face and back wall merge as well. Therefore, the white of the shirt is what draws the eye.

There is a misconception about just copying what's in front of you, be it reality or a photo. You need to create an arrangement of values that clarifies the important aspects of your composition. Maybe you want to do this with grays first. Start with three grays, a light, dark and middle value on a small board. Then you can expand to more values.

Trying to work out the values in the actual painting is sort of solving the problem after the fact. Painters such as Bouguereau and Gerome did innumerable studies before ever committing to the final canvas. The modern notion of just starting with no plan and working things out on the fly flies in the face of sound traditional picture making.

The best approach is to try to arrange a setup that looks good before you do anything. In the case of a posthumous portrait I would place a replacement model, with similar coloring and facial hair, in the anointed pose and try to set up something that works. It might mean moving things or altering the values (for example, lighter pants?) to come up with something viable. If your value structure works then the rest of the painting will progress more smoothly.

I would try to isolate the head first off. What surrounding value(s) would best set it off? Once you arrive at this expand outward. What Value clothing and props would best emphasize him. Do you want to feature his head? His torso? His whole body? These type of questions will determine the best course of action.

Have fun!

[Jeanine Jackson]

Thank you for commenting, Marvin!

Contrary to the impression I or the painting may be giving, a number of small value studies were done prior to putting this on canvas. The dark blue pants are intended to blend in to the background, bringing the eye upward. The lightest part of the shirt is the shoulder on viewer's left, also with the plan to bring the eye toward the face. The dark of the easel against his face is supposed to be similar in value distance to the white shirt and panting behind. The background behind his head is intentionally lighter to bring him forward. The ceiling is close in value to his hair for a lost edge.

Once the detail is added to the face, there should be greater emphasis on it. This should eventually be about his eyes and not a painting of a white shirt!

I shall review again and use my handy-dandy, Mattelson-designed, velvet value checkers.

Thank you for keeping an eye on my progress,
Jeanine

[Marvin Mattelson]

I think that if it doesn't hold and read without the details that it will not be a strong painting. I appreciate your reasoning for the way you've composed your picture but to me it doesn't work.

I think the fact that the dark easel is the same value as his hair pulls back his head rather than advance it. Likewise with the dark pants against the background to our lower right. The sky value, in the painting to his right also being the same value as the illuminated side of his face, pulls him back as well. The chroma of said sky doesn't allow that painting behind him to recede. The shirt remains the focal point, while leading the eye to its own self, IMHO.

I've included a Van Dyke painting from the Frick Collection to illustrate how he handled a similar type of head against a background of similar complexity. I'm sorry I don't have the time to look for something closer. See how the head resounds? This is what I would be looking to do if I were painting Mr. Pasantino, who I believe was quite a stong and confident fellow.

As I mentioned above, Bouguereau is a great resource for innovative value arrangements, unfortunately, though, not really dealing with bearded men very often.

Hi Jeanine,

I've attached a photoshop tinkering to illustrate the differences in the drawing. This is not exact because the resource is tiny, while your actual painting is large, but I hope it will be helpful.

The white lines represent vertical landmarks you could use to check the drawing accuracy. I used the top of his head, bottom of his beard, turn of his left shoulder, outermost point of his right elbow, outermost point of his left elbow, bottom of his hands, and crotch of his jeans, from top to bottom.

The green lines represent his head's width. You can mentally check your diagonals that way too, and the relative size of the canvas behind him.

I feel a little nitpicky in comparison to Marvin's larger points, but I'm still mucking around in the basics, myself.

Best
Lisa

[Jeanine Jackson]

Dear Marvin and Lisa,

I am fortunate to benefit from your astute observations. Progress will be posted next week.

Very best,
Jeanine

[Michele Rushworth]

I shall review again and use my handy-dandy, Mattelson-designed, velvet value checkers.

Can someone (either Marvin or Jeanine) elaborate on what those are for us, please?

[Jeanine Jackson]

Just one of the many marvelous Marvin Mattelson innovations: 4" x 1" strips with openings. One used to isolate value on the model, the other to check it on your canvas.

In my painting, the bigger value patterns are at issue. I will, however, use these strips to check smaller areas.