Not finished oil portrait

Sergio Ostroverhy · 03-21-2003, 12:13 PM

I am still am trying to do something about it.

This is 48" x 38", oil/canvas.

Sergio Ostroverhy · 03-21-2003, 12:15 PM

I think I missed the cold colors, but the technique was new to me. I had no patience to put the "glacis" (transparencies).

Sergio Ostroverhy · 03-21-2003, 12:17 PM

Yeah, here we see the more impressionist "

Elizabeth Schott · 03-21-2003, 05:59 PM

Sergio, this fella could be in Hollywood! Great character. I have to leave the color temperature questions to the big guys here!

Tom Edgerton · 03-22-2003, 10:09 AM

Sergio--

The color harmony in this piece is better than you think. There are but a few adjustments and I believe that you'll be finished.

I perceive a cool highlight/ warm shadow scheme. The extreme saturation of color in the shadow side of the face is atypical, but very effective and unexpected, so it works for me. I would look at warming up the deep shadow areas in other parts of the painting to go along with the head, as in the hands (especially), chair and background. Notice I said warm up, not lighten, as I believe that the shadow values are correctly observed now.

Once the synergy between warm and cool in the head are brought into other areas, the painting will harmonize overall, and really start to work.

Sergio Ostroverhy · 03-22-2003, 10:55 AM

Thanks a lot for the comment.

I noticed already a long time ago your Admiral, and am also amazed by the delicate treatment of the hand in your picture of Mr. Schnyder.

Unfortunately the close ups are not precise enough to see more the "secrets" of such a final "foggy" effects.

I think my technical problems would be resolved if you would be able to tell me how many levels you use in your faces: is it a kind of "a la prima" but in a very smooth way or are you using several levels of colors (like on the front of the Admiral's head, the right reflected light) after the first levels are dry?

Maybe you are giving lessons in Greensboro? Or in a virtual way through a web cam?

Best regards,
Sergio

Sharon Knettell · 03-22-2003, 11:02 AM

Sergio,

I am just blown away by the fearlessnes, originality and power of this portrait.

This reminds me somewhat of an Ivan Albright painting, http://www.cegur.com/Albright/IvanAlbright.html though not quite so setting sun. They grab you and hold your attention from way across the room, everything else disappears.

I applaud your decision to refrain from sourires, as I think that is all to common in contemporary portraiture and diminishes the power of the painting. Try plastering a smile on an Ingres or a David eh!

I think your pastels could use a little more color variation and saturation.

I have been working in pastels exclusively for the last 3 years. I have an example of one in the introduction section. It is almost 7' high.

Your line drawing is exquisite.

Sincerely,

Sergio Ostroverhy · 03-23-2003, 04:31 AM

Shock!

I think I am under a quite shock from your paintings, Sharon -- maybe the first time on this site. Contrary to the Bruce Cegur's painting, who for me has a lot of energy and vision but lacks some aesthetic control over his work, your paintings have something surreal. Of course talking about it has no sense, they talk for themselves.

Concerning the idea of "smilysm" which spreads through the contemporary commercial portraiture, I absolutely agree with you. Personally it makes me vomit. Sorry for the rather hard expression. Your painting for me has something healthful and refreshing -- erotic but not vulgar. Strange and mysterious but just the right proportion. Maybe a slight "Deco" influence of Tamara Lempick. I think it must be linked with your personality.

I saw the 7' pastel, but without the closeups hard to talk about it. Personally just about to finish a 99" (8') high drawing portrait which you can see in the drawing section of this forum. It is the most comprehensible and clear work I did in my life from the point of view of what I want to say about the world. I wonder where your inspiration comes from? Nature? Your surroundings, the people you communicate with?

Best regards, hope keep in touch,
Sergio

Tom Edgerton · 03-23-2003, 09:34 AM

Sergio--

I appreciate your comments, especially from one who paints with such vigor and force. It's a quality I could use more of.

To answer your questions, I usually accomplish what I want in about two layers. I try to finish as much as I can in the first pass, establishing values, highlight, midtone and shadow shapes, and edges very carefully. Usually I move to another area and let the paint set up--in a few minutes--and then come back in and work some more wet into wet. When the solidity and edge quality is realized, I let an area dry and then come back with another layer overall to restate details and refine color, and to pull out the lights, as this can be hard to do wet into wet. I usually adjust values and color with scumbling rather than glazing--scumbling for me establishes an "atmospheric" feeling of air and space. Someone told me once we don't just paint light, we paint air, and that helped me a great deal.

Maybe some day I'll be able to do everything in one layer, but I'm not that skilled yet. Plus, I'm beginning to appreciate the "built up" surface quality of several layers of paint. It keeps my work from becoming too "slick."

And, important for me, if I find myself becoming too tight, I switch to a tool that prevents it--a larger brush, or quite often, my fingers.

Again, thanks for your affirmation.

Sharon Knettell · 03-23-2003, 12:01 PM

Sergio,

J'avais practiquer la meditation de Buddhisme pour beaucoup d'annees maintenant. Je medite un heure avant de travailler.

C'est un livre tres inportante a moi, " Dharma Art" par Choygyam Trungpa Rinpoche.

Je ne desir pas de polluer le monde avec les peintures nevrosee. C'est importante a moi d'offre les peintures ethetiques et beaux, mais pas comme les cartes de vouex.

Il ya un angrandissment de mon pastel apres l'affiche petite premiere.

Sincerement,