What a rich experience

[Patricia Joyce]

Because this was a full figure painting I only had an hour or so to work on the head. We had the life model for a total of six hours. Working in color and with oils, even at my level of inexperience (second oil painting, first painting from life experiece), was an incredibly satisfying experience. I have chickened out from posting in critiques - I know there is a lot wrong with proportion.

[John Crowther]

I think you've done a terrific job, Pat, and can be very proud. Strong value contrast makes it "pop," excellent sense of form, very satisfying color choices, nice rhythm and flow to the lines. -- John C.

[Sharon Knettell]

Way to go Pat!

It is really hard to paint a figure in that few hours. I just erased some legs I spent drawing from my model and they took me 3 hours. You have done an exemplary job. It IS very satisfying and enriching and does help those efforts that are done from photos.

[Patricia Joyce]

Thank you John and Sharon, you've made my day!! I feel blinded to any ability to critically look at this piece because my reaction is all emotion - the class hours just flew like minutes and because I had such limited time, I approached the project boldly, fearing nothing. And, if you knew me, well, this is VERY atypical for me.

[Chris Saper]

Dear Pat,

I think you have really done a great job in this portrait from life! I think one of the most difficult things about painting from life is the frenzied need to go too fast. In my experience, the things you have handled successfully are RARELY executed in life sessions.

Here's what I think you have overcome:

-Successful figure placement and overall composition. So rarely do painters take the time up front to think through the placement of the figure on the canvas, and yet it is a decision ( whether purposeful or by default) that can't be corrected later.

-You have lush passages of line quality and texture, that I don't think can happen by design ( although they certainly should! )

-Your negative spaces contribute greatly to the overall composition.

Paint more from life. Sharon is so very right, it's impossible to successfully paint from photos without the hours of life drawing.

Happy holidays.

[Patricia Joyce]

Thank you, Chris. I am so flattered by these comments and it makes me wonder about several things. When I was taking life drawing there was little time to think much about anything more than getting it down, just like this painting. And I learned that happy accidents happened often. My gestural drawings or 5 min drawings were almost always better than the long poses.

Perhaps this comes with experience, but how does one learn to let the creative juices flow, the spontanaety, while reigning in for control over likeness, proportion, etc. I suppose this is a naive question but I am always mystified and delighted when a piece I have done with more instinct/emotion, than critical thought is somewhat successful. Hmmm...maybe this is a subject for Cafe Guerbois...

Thank you again John, Sharon, and Chris, for your encouraging support.

[Chris Saper]

Dear Pat,

There is very truly an immediacy to the life drawing format ( usually a 3 hour leash ) The freshness to be gained, very, very often offsets the likeness/accuracy of the result. It's important for evey painter to define the desired result.

In commissioned work, most clients seek likeness. (Most,artists, I think, are a lot looser)

Happy accidents are a delight. However, it's just as important to know to know why something succeeds, as to know why something fails.

Here is what will surely send me to the nether reaches of portrait hell: I don't really get the concept of creative juices. I work from the left side of my brain every bit as much as from the right side. I believe there is a logical approach to most of the decisions that need to be made throughout a painting's process.

Keep going, you are really on a positive trajectory!

[Jimmie Arroyo]

Pat, be proud of yourself, I'm friggin' jealous right now. It looks like you had a great time.

[Kimberly Dow]

Pat - go girl! This looks great!

[Patricia Joyce]

[QUOTE=Chris Saper]
Here is what will surely send me to the nether reaches of portrait hell: I don't really get the concept of creative juices. I work from the left side of my brain every bit as much as from the right side. I believe there is a logical approach to most of the decisions that need to be made throughout a painting's process.

I think to be a successful portrait artist one has to use a large portion of the left side of the brain. It is amusing when my colleagues in the world of accounting are shocked to learn I am studying portrature, or when my fellow art students learn I am an accountant by day! Thanks so much for the positive advice, it helps me believe I can begin painting portraits from life. The final walk through on our townhouse is next week, so I will have my studio somewhat set up by Christmas