The Honorable James McGirr Kelly

[Ilaria Rosselli Del Turco]

Garth, what a solid, convincing piece of work. Great edges, I think an earlier deadline was indeed useful.

For me you have said enough,and I don't think there was any need to paint more than you did! Bigger paintings need less details in any case (Harold Speed said).

Many many compliments
Ilaria

[Alexandra Tyng]

Garth,

As you already know, I think this portrait is a tremendous success! Though it does help to have good reference photos, you have pulled it all together in a strong, simple way that reads so well. I am particularly glad to see the details--they do have a painterly quality that adds to the feeling of life. Very impressive work!

It was fun seeing the photos of the courtroom, the unveiling, the view of Independence Hall, etc.

Alex

[Janet Kimantas]

Garth,

I have greatly appreciated being able to see your work (albeit at 72 dpi) over the last few months. It would be such a treat to see some of these paintings in person. I have been wondering about your technique. Do you do a lot of glazing and scumbling or is it more alla-prima-over-time? I'm sure I ought to be able to tell just by looking, but I can't. I think I remember you mentioning a 52 value greyscale that you use, which indicates to me that you are pretty precise right from the start, and don't get into the wholesale repainting that, for instance, I waste a lot of time on. Do you do temperature adjustments as the work progresses, or is that nailed down too? Sorry to ask so many questions, but I really am enthralled.

Thanks, Janet

[Garth Herrick]

Ngaire, be careful there! I don't want to see anyone get hurt by a thumbnail! There is nothing particularly difficult in executing a painting like this. The main concern is just making sure all the various components fit together in a relationship.

Hi Tricia, it is good to have you on board here! Confidence is a fleeting thing with me. Sometimes even when it is a bit lacking, a fixed delivery deadline can take over that void! Just making oneself paint, ready or not, goes a long way.

Allan, I greatly admire your latest portraits, with their gestural, painterly style. It makes me want to see ways of introducing similar qualities in my work. I want to leave larger, bolder brushwork where it holds together. Frequently I will lose it by making fussy adjustments. It is important to sense when it is time to leave a passage alone, and move on. You are one who knows when.

Leslie, cheers to you too! That hand seemed to magically paint itself in a few strokes. I am not often so lucky.

Hi Michele. I believe I was commissioned at the end of March, although I had other paintings to finish first, and I did not realiy get a convincing start until a few weeks ago, after I first explored ways of fitting the robe on Judge Kelly. Even as late as two weeks ago, the painting seemed tentative, but somehow it got done despite a four day excurion to Arizona in the following week!

Dear Ilaria, thanks for reassuring me that deadlines can be a good thing! Being more painterly and editing out detail can give the subject more life and spontaneity. You are already a master of that!

Dear Alex, thanks so much for your kind words! You are already intimately familiar with this Courthouse, having a fine portrait of your own in their collection. Kudos! We will have to post a directory of all our various Distict Courthouse portraits: Courtrooms 8A, 10A (you), 17A, 14A(?), and another I have to locate.

Janet, such good questions: I tended to paint alla-prima on this and take it as close as I could to a resolution in one session. In truth though, this alla-prima is a great foundation, and retouching the cured paint a day later makes it no longer alla-prima, but I did glaze, scumble and wholesale repaint again, on the slightest whim of dissatisfaction. Taking breaks, even four day breaks is a good thing, to help me assess whether a passage is a finished statement or not. The most important thing is to summon the courage to paint even when not having all the answers yet in your head. Many problems will magically work themselves out, as if automatically, just by manipulating and pushing the paint around!

Thanks again,

Garth

[Garth Herrick]

Janet, you asked about my grayscales. On this painting I pretty much avoided using those precise grayscales, pretty much because they can be time consuming and in this particular case I had no time to waste. So essentially, I just painted everything with my best value and color estimate, and made rapid changes and adjustments on the fly.

It is often helpful to paint values in steps and stages, as from darkest first, through ever-lighter increments. In this way, at least the values will be organized into a good working relationship. With this established, many times simple adjustments and clean-ups can be quickly placed, and the whole process becomes very efficient and direct.

Garth

[Julie Deane]

Congratulations, Garth!

And I agree with Leslie - I just got back from a museum trip to Washington D.C, getting to observe some Rembrandts up close - the closeup of that hand reminds me of R's work.

[Jane Bradley]

This has so much more life than the photograph of him I saw. I can't believe you painted this beautiful piece so quickly.
I would be interested in knowing what your usual palette is - maybe you have mentioned it before, but I don't recall.

[Terri Ficenec]

Just gorgeous Garth! The overall piece vibrant and that hand is amazing!
. . . now let me get back to studying it

[Kimberly Dow]

Congratulations on another wonderful painting Garth!

[Linda Eades Blackburn]

These beautiful portraits are so inspiring! I had been debating what to post as a new member and viewing your wonderful paintings helped encourage me to go ahead and post a Judge that I painted. I am so looking forward to viewing more of your work.