Three new portraits

[Ilaria Rosselli Del Turco]

Chris, thank you very much for yor comments, our posted crossed yesterday, so you asked me about unifying while I was writing on the same subject to Garth!

Right, so this was my strategy.

There are a few technical elements that unify the lot. Scale and size is the first one, it appears better when you see them live, but they are consistent and true to the real proportions of the heads, so the girl's slightly bigger, etc..

I use a limited palette, two yellows, two reds, two blues and white, so there is a certain unity in the colour throughout the paintings. Also, I chose to have a flat background behind them, something that would put them in their rooms, so I have a rug, a victorian fireplace and a poster (the latter was also very useful to lose the boy's ears, that stick out a little).

But for me the most important unifying element it's more of a philosophical kind. I struggled a lot to understand it, and now I am starting to grasp it and I think it shows from these last works. I'll take it from afar: the more I work, the more I am gaining the confidence to work live. This is enabling me to spend more time with the subject and creating a person to person relationship. The result is that the reaction to being painted comes out more clearly, so this is a powerful element that I think keeps the paintings together: they are all interacting with me.

The little boy is sweet, he is telling me he wants to be painted, the middle child is challenging, the girl, the one I spent more time with, she just didn't let me in. I am mother of three boys, teenage girls are a mystery to me, and I was uneasy in her room, and she was shy, she did not look, so this is how I painted her.

All this is, I think, giving a deeper dimension to my work, and I owe it all to my tutor, Minna Stevens. During the first term she pushed me on technical matters, managing the quantity of oil in the paint, dealing with edges, and so on. On our last meeting instead she told me to forget all the technicalities and just go for the person. I did not get it at the beginning, but now I start to understand, she is such a clever lady, you can view her work at www.minnastevensportraits.com.

So Garth this is where my question on your last painting came from. Because I am working on this idea of the relationship with the subject, I was interested in the non relational approach. I mean, if it is possible to build a portrait on the tension between painter and model, the contrary is also an option, which is, building it on its absence, on the unawareness of the model, so I find this is THE most powerful element in your painting, rather then the exquisite technique.

Am I talking sense?

Ilaria

[John Reidy]

Ilaria-

Excuse me for butting in but I just wanted to tell you how much I like these pieces and to thank you for all of the posts, especially the last one. How you captured the inner selves of each child with such delightful style and simple grace.

It is as if you captured every important element and let all of the fluff fend for itself.

Thank you and Bravo!

[Carol Norton]

" I use a limited palette, two yellows, two reds, two blues and white, so there is a certain unity in the colour throughout the paintings."

After studying your paintings, I am so very interested to know what your yellows, reds, blues and even the white that you use are. I love the boldness in your style and also that of your tutor, Minna Stevens. Very strong and powerful. I thank you for sharing it.

[Ilaria Rosselli Del Turco]

Carol, this is a bit of a thorny subject...
I normally use:
yellow ochre pale
lemon yellow
(rarely Michael Harding Naples yellow)
Permanent rose W&N
vermillion (possibly Michael Harding but is sooo expensive)
french ultramarine
viridian (I know it's green not blue, but works as a blue to neutralize)
titanium white

Remember though, it's not what you use but how.
xxx
Ilaria

[Linda Brandon]

Hi Ilaria,

One of the things I most like about your work is the creative and bold way you design your backgrounds. They work so well with your fresh color schemes and looser brush strokes. I'm especially enjoying the closeup of the boy and they way you've placed the cool tones in his face.

I'm interested in what you wrote about painting the relationship between artist and sitter. Do your clients care whether you work from life or from photos? Do you feel you have more freedom working from life?

[Ilaria Rosselli Del Turco]

Hi Linda, how are you?
I have been painting from life a lot recently, and as I said I grew more confident. At the end of the day is only a matter of practicing.
I do agree at the beginning with the client that there will be live sittings, the more the better, and that I might want to go and paint in the house even if the subject is not there.
I find it very useful, when I am in the right mood everything goes swiftly, I paint fast because I am under pressure, and I can finally see all the purples, greens blues in the face. As you know I work from B&W photos, so I normally make them up a little, but seeing them it's actually much easier. Working from life also helps me to blur the image more. When I paint from an enlarged photo that I keep at 5 inches from my eyes I can see better all the details and tend to paint them, as if I had Superman vision. In the girl's portrait I managed to be quite loose I think.

Now, regarding the client's attitude, it is sometimes trouble. With the excuse of having them signing something to allow me to publish the painting with the name, I have now prepared a letter where I say that the portrait is a cohoperation between us, and that they need to be available. This last lady dragged me on for weeks before the daughter could find a week-end morning for me, I should have asked a big deposit!
But also going there with your easel, your stuff, setting up etc, I have noticed it generates a certain awe and respect that you can take advantage on. You must, I think, pose like THE artist, so that you can say: I am the artist, I will not modify the mouth! later on.


It is anyway very interesting and rewarding to establish a short friendship, especially with the children I paint. I just enjoy spending time with them rather then be always on my own upstairs listening to BBC4 !
Love
Ilaria

[Ilaria Rosselli Del Turco]

Carol, I don't know what colours Minna uses, I have never seen her painting, but they won't be too different from mine.
I checked you out!! I looked for the work you posted, unfortunately only found one, but I understood why you liked Minna and maybe me.
We paint more or less in the same way, with patches of colours and very little blending. This is a way of painting that is very popular over here, as it was masterly taught by Willliam Coldstream and especially by his pupil Euan Uglow.
I suggest that you buy a book on Uglow, he is an absolute genius with an incredible sensitivity for colour. I learned a lot from his work, and was taught by a couple of his pupils.
http://www.amazon.com/exec/obidos/tg...glance&s=books
Just snap it if you can, let me know if you fell in love with his paintings as it happened to me
Ilaria

[Carol Norton]

Originally Posted by Ilaria Rosselli Del Turco

Carol, this is a bit of a thorny subject...
I normally use:
yellow ochre pale
lemon yellow
(rarely Michael Harding Naples yellow)
Permanent rose W&N
vermillion (possibly Michael Harding but is sooo expensive)
french ultramarine
viridian (I know it's green not blue, but works as a blue to neutralize)
titanium white

Remember though, it's not what you use but how.
xxx
Ilaria

Ilaria,
Thank you for your kindness in sharing your palette with me. I PROMISE not to challlenge you to a duel of the palettes. I especially enjoy the strength of colors in the shadow side of the faces as I am working on a group portrait with many of the same colors - especially the background. Does your mentor use the same palette?

Carol Norton