Jane and Iona

[Elizabeth Schott]

Wow Garth, talk about the color composition.

I didn't take time to read everyones accolades, but I am assuming you helped her with the wardrobe.

I put this one right up there with my other favorite, of the little guy at the swimming pool.

Just wonderful!

[Marta Prime]

Garth,
This is just wonderful, everything everybody else said and more. One thing came to mind when I read your first statement though. You were up all night painting and delivered it the next day? Weren't you afraid of some accidental smudge? Little curious fingers?

[Garth Herrick]

Thanks, Renee, Elizabeth, and Marta for your kind words!

Renee: I still say you are unusually organized with your color mixing.

Elizabeth: Jane had a couple options ready to wear, but I liked what she had already chosen to wear first.

Marta: Good point! I had enough Liquin in my medium to prevent any real tackiness or smudge danger by the time of delivery. Right now I am not using any Liquin, just paint, and it still dries overnight, or so it seems.

Garth

[Jimmie Arroyo]

Garth, another great one. I think I like this one the most of yours so far. (until the next one)

[Chris Saper]

Dear Garth,

Let me re-enter this dialogue and comment on how your very precise edge mangement creates a breathable atmosphere between the viewer and the painter. I would, (and I think many others) like to hear your thoughts on this.

Best,

[Garth Herrick]

Thanks Jimmie and Chris,

Originally Posted by Chris Saper

Dear Garth,

Let me re-enter this dialogue and comment on how your very precise edge mangement creates a breathable atmosphere between the viewer and the painter. I would, (and I think many others) like to hear your thoughts on this.

Best,

Dear Chris,

What an interesting concept. I have not actually thought of this before; at least in verbal terms. Do you mean atmosphere between the viewer and the painting, or the painter? I am assuming it's the painting. It seems to make sense: if edges are crisp and sharp, they seem to penetrate the viewer's space more effectively than if they are soft and blurred. So I guess one could say there is a sense of a breathable atmosphere implied before some of my paintings. Very interesting! Thanks for articulating the idea. Now I will be thinking more consciously about this while painting.

Do you or anybody have more specific thoughts about this topic of the possible effect or illusion of atmospheric space?

Best,

Garth

[Chris Saper]

Garth,

My apologies for the delay in getting back to you here..

Actually I was thinking about the relationship between the person viewing the painting, and the picture plane(s) of the painting. I think that your masterful execution of edges makes the series of many successive picture planes behave. I liken this to the notion of photographic "depth of field" but unleashed from what the camera would convey. Painters have to control their surfaces, and you have done this beautifully.

[Garth Herrick]

Gosh Chris,

This is high praise indeed! I think I closely followed the cues of my reference photo to guide me in my edge control. I was careful to keep colors in the background passages from being particularly strident and contrast levels reasonable. I think this might contribute to the effects akin to a photographic depth of field.

Thanks so much,

Garth

[Garth Herrick]

Breaking News: Jane and Iona has been selected as a finalist at the Portrait Society of America Seventh Annual Art of the Portrait International Portrait Competition, May 12 - 15, 2005, in Washington, D.C.

Wish me luck! There is some good competition.

Garth

[Kimberly Dow]

Congratulations Garth! and good luck - although you dont need it!