Submitting for a critique

[Richard Monro]

Janet,
I think that you will find that doing the portrait over again while applying the counsel given in this thread will be very encouraging to you as it will show the big leap in progress you are making.

With respect to love, the Greeks have four terms for love. One of them is agape which is principled love. So to keep out of trouble here, let me state I have agape your lovely model and agape for you as a dedicated artist trying to improve her craft. Whew...hope I am home safe on that score.

Don't get discouraged. You have the makings of a very fine artist and you are already 70% maybe 80% ahead of most individuals who try portrait art. Keep the brushes moving.

[Allan Rahbek]

Janet,
I have seen your other paintings so I know that you are capable of finishing this one off in a good way too and therefore I will try an additional input on all the other helpful suggestions.

I also believe that the main problem is related to the value range and suggest that you look at your painting from a long distance.

You will probably not be able to get far enough away from your oil painting into your studio to see what I mean. But to test what I mean I suggest that you have a look at the photo reference on the monitor and step about 10 steps (meters) back. At that distance you will hardly be able to see the features in the head, such as pupils, eyebrows and nostrils, but you will still know the person.

Now you place the WIP on the screen and walk back again to look and think of what you actually sees.

I felt that the face fell apart when I looked at it from that distance and I believe that it is because you have over emphasized the features, that characterize her face, so that they over powers the bigger shape of the head.
The problem in doing so is that it looks right, up close to the painting, and in strong light, but not at a distance. And it can only be judged at a distance.

Good luck, Allan

[Janet Kimantas]

Oh eeeek, Allan. You may have really nailed it. You see, I have serious problems with my arms and shoulders and am not physically able to paint "at arm's length". I actually have to prop my arm up on my knee to paint. So I don't get back far enough to really see it. I had actually thought that I needed a smooth surface to roll back my chair often enough to get a good look, but hadn't done so. This may explain a lot. Thanks so much. Janet

[Allan Rahbek]

Originally Posted by Janet Kimantas

Oh eeeek, Allan. You may have really nailed it. You see, I have serious problems with my arms and shoulders and am not physically able to paint "at arm's length". I actually have to prop my arm up on my knee to paint. So I don't get back far enough to really see it. I had actually thought that I needed a smooth surface to roll back my chair often enough to get a good look, but hadn't done so. This may explain a lot. Thanks so much. Janet

Janet,
I am sorry to read about your problem, but I came to think that you could place a mirror on the wall behind you so that you can swing around and watch the painting from that distance. This will be reversed though , but you will have a certain distance without having to move allot.
Just a thought, Allan

[Julie Deane]

I don't have much to add, Janet, but can emphasize with the distance thing. I'm learning how important it is.

Here's something you might want to try - a reducing lens. I just got one to help myself. Looks like a magnifying lens, but does the opposite. Helps to see the whole thing shrunk down, as if you had stepped away from it.

[Janet Kimantas]

A reducing lens? Where would you pick up something like that? Does it distort much? I sounds interesting. I can think of many uses: excuse me, annoying person, while I get my lens out to reduce you; there, that's better!

[Ilaria Rosselli Del Turco]

Janet, you had a big response on this thread, not only because you are a very nice lady, but I think many of us saw themselves.
Personally I can see paintings similar to this one in my recent past, and I especially understand the discouragement and the doubts.
Don't give up!

[Mark Youd]

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[Janet Kimantas]

Ilaria, thanks again. The thought that you have gone from where I am to where you are now in recent history - that's encouraging.

Mark: ouch.

[Mark Youd]

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