Re-freshed and moved

Elizabeth Schott · 08-11-2003, 10:00 AM

These have been moved from the "unveilings" since it was brought to my attention that some people wanted to comment on the fact that they like the old better.

After all the workshops I attended this summer, I thought it might be intersting to look at the help it has given me. I hope this is what you think.

Upfront I apologize for some of the images (I always do - I can't wait to get a better digital camera) I think if you saw them in person you could see the difference much better.

I'll have to change computers to get the side-by-side comparisons so for now I'll put up just the new.

Elizabeth Schott · 08-11-2003, 10:09 AM

The main things to notice on "Jinny", are the change in values and edges also how the left hand is handled under the book.

image reshot 10-31-03

Elizabeth Schott · 08-11-2003, 10:12 AM

"Ben, the Painter" who was posted under "seasoned professionals" (I did that as a joke before Marvin's workshop, my apologies to all the "seasoned pro's" here) with the "Jinny" painting still needs some work.

I am showing him with the painting, because it looks like in the first one I had his head too short and now have elongated it, and added to the forehead too much.

Elizabeth Schott · 08-11-2003, 10:13 AM

The changes I worked with on "Ben" were again value, edges plus working on keeping the background creative but more understated. I liked the drop cloth concept but didn't want it to compete with the figure as much.

Elizabeth Schott · 08-11-2003, 10:15 AM

"Formal" the little oil, was always one of my favorites, but not anyone else agreed. I really want to work to make this one right.

After Tim's workshop we discussed the symmetry of the orginal piece. So this is what I concentrated on, plus working on the value of her skin tones as they flow from the main highlight after Marvin's.

Elizabeth Schott · 08-11-2003, 10:16 AM

To handle these challenges, I took the background draping (whose color and value I think worked best) and pulled it to the side like a true drape revealing another room barely visible. There is a hint of a window and wood floors.

Elizabeth Schott · 08-11-2003, 10:18 AM

"Peggy"

Elizabeth Schott · 08-11-2003, 10:20 AM

Peggy was a challenge for me for the way her body was positioned. Again value was corrected.

image reshot 10-31-03

Jeff Fuchs · 08-13-2003, 01:42 PM

Beth,

Are you photographing the second set of pictures under different lighting conditions, or are you really adding a lot of blue to the paintings? It seems like they're all bluer now.

I realize that I have a personal prejudice against blue, but I must say, I think it takes away from a painting. I'm a huge Rembrandt fan, and I feel that more is less when it comes to color (especially blue). Rembrandt used very little blue -- almost none in his portraits. When he used blue in landscapes, it looked out of place to me.

For an example of a fabulous limited palette (in my opinion), see the last article in the August issue of The Artists magazine (the issue with Chris Saper's article). There's an early Renior portrait, from his pre-impressionist days. I found it to be absolutely captivating. It was the skill, not the palette, that makes it beautiful, but it proves that more color is just more color. Of course, he later rebelled against "colorless" painting.

If you were advised by a pro to add more color, I'll refund your two cents.

Peter Jochems · 08-13-2003, 03:06 PM

Hi Beth,

I don't like the changes you made. These were finished paintings, and they marked a certain stage in your development. Therefore I wouldn't have changed them anyway.

The addition of blue or cool colours makes them look 'unhealthy', I liked the brownish colour scheme better. They all seem to have lost character somehow. The face of the painter doesn't look as much like him as the first version, is my impression based on the photograph of him standing next to the painting. The rendering of the forms is smoother, which I regret. I would even advice to make the rendering rougher instead of smoother if that suits your personal way of doing things better. One person suits it better to paint smoothly, the other by doing things in a rougher way. (But always be accurate).

I wish there was an 'undo'-button I could use to change them back into the paintings they once were. They weren't perfect, but they had charm.

Greetings,
Peter