Alive but not kicking

Marvin Mattelson · 11-20-2002, 01:10 AM

This portrait was painted in a life class about two and a half years ago. My approch to painting is to start with the biggest shapes and continue to subdivide until I have achieved the degree of finish I am looking for. I costantly use my smaller shapes to verify the integrity of my larger shapes. First I look for shapes, second for values and last for color notes. Edges are refined where and when it's appropriate. Even though the head is refined, I tried to hold the big shapes to maintain a strong sense of form.

Jean Kelly · 11-20-2002, 01:36 AM

Marvin,

Even her ear is wonderful. What is the size? She's definately alive. Thank you for posting this.

Jean

Josef Sy · 11-20-2002, 08:40 AM

Hello Marvin,

Wow! Excellent work as usual. How long did it take it to that finished stage? Did you start with a drawing study and value study?

Michael Georges · 11-20-2002, 10:24 AM

I share the other's sentiments - it is wonderful! I love the reflected light under her chin and the lost edges are great.

Marvin Mattelson · 11-20-2002, 10:31 AM

Thanks for the compliments.

The size of the canvas is 11" x 14." The actual painting time was probably about 15 to 20 hours. A lot of time was spent restating the painting in wet paint and then building it up from there. This is the problem with painting one session per week. There was also a lot of haggling over the model's position, so minor alterations were continuously being implemented.

When I paint from life I do my drawing directly on the canvas with a neutral complexion color slightly darker than the value of my toned canvas, a very light wash of raw umber and thinner. I keep my drawing pretty broad and add refinement as the painting evolves. I don't do a detailed drawing or separate value study for a cameo portrait such as this. I would however do more preparatory studies for a more complex composition.

Unfortunately I haven't had a client that would avail themselves completely and allow me to do an entire portrait from life, so I must content myself to working from photos with some additional life sittings at this point in time.

My goal is to work entirely from life, live in a castle overlooking the ocean, and be loved by all. I

Josef Sy · 11-20-2002, 10:37 AM

Marvin,

Castle, eh? Do you need a butler?

Thanks for the valuable information.

Enzie Shahmiri · 11-20-2002, 11:13 AM

Marvin your work is beautiful! I am in awe at your ability to render such beautiful hair.
Can you elaborate how you approached doing the hairline? It looks so natural as the hairs are being pulled back into the larger mass on the top of her head.

Chris Saper · 11-20-2002, 11:36 AM

Marvin,

This is a wonderful painting. Your note of saturated color in the reflected light under the chin is the same concept Karin Wells shared here, ina discussion of color saturation: http://forum.portraitartist.com/show...6&pagenumber=1

Could you elaborate a little on your use of this color in the reflected light area beneath the chin?

Marvin Mattelson · 11-20-2002, 12:50 PM

Thanks for the kind words Enzie and Chris. The answer to both your questions is actually the same in an odd way. My basic philosophy of painting is to paint what I know. This entails observation based on knowledgeable presumption.

In the case of the hair I know that the hairline is a soft transition that is created by the overlaying of individual hairs casting shadows on the skin so I look to emphasize this. Furthermore, since hair is soft I look for any indication of this trait and exaggerate it.

The same is true for reflected lights. Reflected light is a function of color, not value, which I have previously stated. If this is not understood then the tendency is to lighten the reflected light value wise and thus flatten the form. When the light hitting the skin bounces into skin shadow it intensifies the skin color (additive color theory)and the result is always more chromatic. If the subject were wearing a light blue shirt the reflected light would be totally different.

The key is to have knowledge and then look for

Kent Curole · 11-20-2002, 12:54 PM

Yea, but what does she really look like?

Marvin never fails to amaze us all. I'm glad to be in a place where I could learn from such great artist. One day I want to be a real artist.

Kent