Lines

Julie Deane · 01-25-2005, 03:29 PM

Hi Ilaria -

Check out the top left part of his head (our right). To me, it looks like you could flesh this out by adding some width. Looks a little too slanted an angle to me.

About the bannister - maybe if you brought it out farther at the bottom?

Chris Saper · 01-25-2005, 04:12 PM

Hi Ilaria,

You might consider getting rid of the bannister and supports altogether, and instead, move the wainscoting down to support the center of interest, sort of like Norman Rockwell's Saturday Evening Post covers.

I think it is really difficult to use architectural elements, even if handled loosely, without painting them quite accurately. In your photo, the bannister looks as if is not only moving behind the boy, but, simultaneously away from him.

Ilaria Rosselli Del Turco · 01-25-2005, 05:01 PM

Thank you, Chris and Julie.
I will reconsider all the composition since I am fairly at the beginning.

I really love to have elements behind the subject, so that he or she is placed somewhere in a domestic environment.
It is true though that a straight line should remain a straight line also in a losely painted work, I 'll have to have a better look at J.S.S., I guess.

Since I am a mother of three boys and I particularly love this subject, I am posting a portrait by an Italian painter of the early 20th century who is a great source of inspiration. This window is often in the back of my mind when I paint. Hope you'll enjoy.
Thank you again
Ilaria

Linda Brandon · 02-03-2005, 08:41 PM

Quote:

Originally Posted by Ilaria Rosselli Del Turco

I really love to have elements behind the subject, so that he or she is placed somewhere in a domestic environment.

Hi Ilaria,

The painting by the Italian artist is a good example of using rectangular shapes within a rectangular shape to help focus the composition onto the subject. If you are really interested in these types of scenes you might start a notebook of similar compositions and compare how each artist handled problems such as dark head against light background, light head against dark, lost edges and soft edges, warm against cool, landscape outside vs. empty space, etc. Directing the eye with shapes frequently seems to me less "obvious" than directing the eye with line. (Compositional issues are on my mind too because I am starting a similar notebook on the topic "circles")

And I like how you have painted the boy, by the way.

Ilaria Rosselli Del Turco · 02-04-2005, 05:41 AM

Linda,
actually this is a really good idea, as I do sometimes end up frantically leafing through books looking for that special painting I have seen months before.
I have almost finished the portrait, and I got rid of the bannister as it had a feeling of someone within bars. I painted the mouldings of a door in the background, going back to the rectangular scheme again.
In a sense it was a way out to avoid a background with a nothing, though it is a much less real place than the room where the boy with the boat is.
It's an acceptable solution when you cannot rally paint on the spot, I think.
I am working also on three more portraits on the same theme,I will post everything as soon as it's done
Thank you as usual
Ilaria

Garth Herrick · 02-04-2005, 09:58 AM

Hi Ilaria,

I am anticipating that you will have solved your compositional dilemma by the time you post another image. I think your rectangular scheme is going to work. If I had not told you before, I do so much love your painting style, and strength of your compositions.

As a photographic portrait, I love your reference as it is. Interpreting this successfully into a painting, as you have shown us is unfortunately problematic, since the complexity of the bannister begins to overwhelm the softness of the boy; yet it works as a photograph.

Could you tell us who that Italian painter of the early twentieth century is? I really love that dynamic composition, and the way the architectural elements have been successfully integrated. I would really like to see more of this great painter's work. Thanks for sharing this.

Garth

Timothy C. Tyler · 02-04-2005, 11:33 AM

If I may make a general remark, I'd say just learn how to conquer any of these background challenges and make them work for you. Sargent, Zorn and yes R. Schmid handle this well. One key is to soften the intersecting point; letting one shape, normally the one in the fore, be much crisper and blur (or deny) the other so as to eliminate the linear intersection.

In portraits, lines and backgrounds can really add power to a work. I admire strong works that use the lines and shapes to the artist's advantage. I think you can make the rail work but it will take some effort. If you were to mirror the rail and place it on the other side I think you like that better and don't worry about the eyes exactly-the force will be with you.

Garth Herrick · 02-04-2005, 01:34 PM

Quote:

Originally Posted by Garth Herrick

As a photographic portrait, I love your reference as it is. Interpreting this successfully into a painting, as you have shown us is unfortunately problematic, since the complexity of the bannister begins to overwhelm the softness of the boy; yet it works as a photograph.

Ilaria, if this is not too off topic, here is an example of an architectural element that I needed to almost completely diminish to make the painting work. The full work can be seen here:
Human on My Faithless Arm

Can't wait to see your resolved portrait!

Garth

David Bottoni · 01-25-2005, 05:03 PM

Quote:

Originally Posted by Chris Saper

Hi Ilaria,

You might consider getting rid of the bannister and supports altogether, and instead, move the wainscoting down to support the center of interest, sort of like Norman Rockwell's Saturday Evening Post covers.

I think it is really difficult to use architectural elements, even if handled loosely, without painting them quite accurately. In your photo, the bannister looks as if is not only moving behind the boy, but, simultaneously away from him.

Ditto - Chris is correct. I just had to comment. Get rid of the railing. Even a scumbled-marble like backdrop is more effective. Use a muted cloudy colour that you feel will enhance the boy's presence and compliment the flesh and clothes.

Michele Rushworth · 01-26-2005, 01:15 AM

I'll add my vote to those who recommend getting rid of the bannister altogether. As Chris pointed out, architectural elements that aren't painted absolutely accurately (even if in a painterly way) will distract from anything else that may be right with a painting. And the position of it makes it look like it's growing out of his shoulder now.