First self portrait 24" x 30"

[John Bruso]

This is my first post in four years. I apologize that my user name says John Bruso, my name is Mara.

I had originally intended to place this painting on the forum before it was "finished," but it took me a while to have the ability to log in again. Several years ago, I began painting what I called "Narrative Portraits" so that I could make a little money while growing my illustration portfolio. In the process, I discovered that my passion did not lie in illustration as much as portraits! Now, I can hardly bring myself to desire any other subject!

Upon my return to the forum after four long years, I discovered Bouguereau. So I purchased one of the books recommended by this site and decided I would like to tackle a portrait handling the skin tones similar to the way he did. Below is my very first self portrait (FYI, this was painted when I was in my first trimester of pregnancy. I am now in trimester #2). I apologize for the "red" tint to it. The real thing is a bit softer. The skin tones are a little more subtle than the image. I need to go back and re-shoot the painting for more accurate colors.

Even though I have this painting in a frame, I would not object to taking it out and making adjustments. I am especially interested in feedback regarding the composition. I used a lot of negative space and I used my signature in a way I have never done before. I welcome any critique anyone may have for this piece. Thank you very much for the opportunity.

[Sharon Knettell]

I am really curious as to why you chose, it seems to work from a photograph rather than life. You appear to be an attractive young woman and a great subject. One of the best ways to distinguish yourself as a portrait artist is to be able to paint the same portrait from life as you would from a photograph. To many aspiring portrait artists are taking this easy route of copying photographs, rendering all their work and styles quite similar.

Marina Dieul , first did a self portrait in charcoal, then in color.

I would suggest you avail yourself of more figurative and portrait classes from life, and workshops or ateliers. I would first concentrate on form, and only in black and white until you have mastered it, then go on to color.

I do think your signature is a bit overwhelming.

[Jeff Fuchs]

Sharon,

People don't necessarily choose to work from photos. My own wife won't pose for me. I know the forum has been emphasizing life work lately, but for many, it's just not that easy to get willing models. I've had people say they would pose for me, then hem and haw and never follow through. It's just a reality that we have to resort to photos.

Besides, how could you paint a self portrait in this pose from life? Maybe with mirrors?

I agree about the signature. Way too much.

[Sharon Knettell]

All of the great painters of the past, Velasquez, Gainsborough, Rembrandt used themselves effectively as models. David Leffel, though he can afford any model he chooses does a self portrait from life and it is a choice item for the chosen gallery owner of the year to sell.

She could easily find a suitable pose to paint from. So many well known artists have been able to manage that in the past.

Jeff, I am sorry you have has such trouble finding free models. However only those who are able to learn the proper methods and are willing to go to any lengths to achieve this goal will have any chance of success in this difficult and competitive field. The rest should consider another way of making a living. Personal anecdotes, though telling and sad aren't really helpfull.

[Kimberly Dow]

Mara,

This piece has a definite illustrative quality to it.

There are some (Sharon especially ), who only appreciate works done in a certain style and a certain way.

As we all know - there are many many styles of art out there.

If you were looking to paint like Bouguereau, then Sharon's advice is valid. If your looking to do portraits that are more like illustrations - then you are in the right direction.

Maybe you can tell us what your goals are?

[John Bruso]

Sharon, I agree, portraits from life should be the standard whenever possible. Currently, I am painting a portrait from a live model, and the differences between working from a photo and working from life are huge! I'll tell you the "secret" reason I chose not to use a mirror and work from life....My facial features are very asymmetrical. I have used a mirror to draw myself in the past, and the mirrored image of myself looked strange to me. A mirror image of my face doesn't look like photographs of me (which is the way other's see me, right?). I was afraid I would get all caught up in "fixing" those awkward subtleties, that my goal of painting realistic skin tone would be side stepped. But, your comment has made me consider painting myself again - from life this time!

One comment I have received from several friends is that the painting doesn't show my personality. Perhaps a painting from life would have made all the difference.

[Sharon Knettell]

Originally Posted by Kimberly Dow

There are some (Sharon especially ), who only appreciate works done in a certain style and a certain way.

I actually "appreciate" Botticelli, Michelangelo, Raphael, Titian, Tintoretto,Vermeer, Rubens, Van Dyke, Velaquez, Gainsborough, Reynolds,Hogarth,Ingres, Paxton, Benson, Sargent, Degas, Kollwitz, Wyeth, Frieseke, Monet, Manet and Polly Thayer Starr to name a few.
Bougereau, though I admire his consummate craftsmanship, is not one of my favorites, and I would never urge anyone to emulate his style, though from what I have seen of contemporary realists, there is very little risk of that happening.

Their "certain way" was to learn their craft. Their "certain style" was mastery.

Mara, those "awkward subtleties" give a painting charm and style.

We have become so used to the retouched 'beauties" in Vogue, I don't think we know what a real face looks like until we examine it closely.

Enjoy your work from life.

[Sharon Knettell]

PS. Everyones face is asymmetrical.

[Chris Saper]

Dear Mara,

I think that the comments you have received are excellent. Perhaps one of the most important things about the experience of painting from life (a lot) is that there just isn't any way to paint successfully from photos without the real time practice.

Painting a self portrait from life does usually have compositional limitations (a good topic for another thread) because of mirror positions, etc. Painting a self-portrait from a photograph, however, has other inherent demands: excellent lighting, sound composition and thoughtful execution.

Here are my thoughts on a critique.

Composition. I like the extra breathing room given on our left. Because you have elected to place a very light figure against a very dark background, you have lots of edge challenges at hand. The area under your arm on our left becomes a small eye-trap because of the extreme contrast in values and the sharp edges. This would be easy to fix. The areas where the arms are cropped, though, can't be fixed. Their light value, strong edges against the gown, and positions tend to make them into arrows that accidentally call the viewer to exit your canvas.

Composing your figure to either include a circle of hands - or cropping into a head/shoulders-would probably be good compositional options.

Selection of resource material. It's hard to say (not seeing your material) whether you have lit yourself in a way that maximizes your ability to show 3-d form through modeling. There seem to be conflicting light sources.

Drawing. We are all, as Sharon says, asymmetrical. That's part of the challenge in determining the viewpoint - whether to emphasize or minimize the asymmetry. As I don't know you, I can't say, but check the directional angles of your eyes compared to your lips. The eyes move upward to our right, the lips downward to our left.

Values. If you have Photoshop you might try the "posterize" function. You have clear lights and darks, but have few middle values. The lights and darks are somewhat equal in the relative square inches they comprise, and their positions don't encourage as much eye movement as they might if there were a bit more variety. The values in the gown seem a little arbitrary.

Edges. Aside from the above mentions, the pattern in the empire waist band has strong contrast and sharp edges, which makes for an accidental eye magnet. The place where the halter top moves behind the left side of your neck, has very sharp edges, same issue.

I have painted self-portraits from life, as well as from photos. Alternate - then you can really get a grip on how to interpret photos, based on your practice from life.

Best wishes!

[Alexandra Tyng]

Hi Mara,

I think the critiques that you've otten so far are excellent. I have only a few things to add.

The lighting is very flat and frontal, as though you used a flash to take the reference photo. Regardless of whether a flash was actually used, this is the impression, and if your goal is to create a portrait with depth and three-dimensionality, then I recommend avoiding this kind of lighting. There are many threads on this forum that deal with lighting.

Your friends are right--there is really little information in this portrait on who you really are. I am left with the impression that you are hiding behind a glamorous facade and don't really want people to know who you are! Excuse me for being blunt! But I have a feeling there is a lot under the surface. I would like to see you paint a portrait that shows you as a human being, one that reveals who you are.

Alex