Portrait of Jamie

[Lon Haverly]

I'm not worthy! I'm not worthy!

[Sandy Barnes]

Thanks Marvin. Fabulous.

Once again, I bow down to your edges.

[Jeanine Jackson]

Thank you so much for sharing details of this exquisite portrait!

You made an earlier comment about choices: painterly vs. the sublime detail found here. I am really on the fence over this question in each painting I plan. You have inspired me to explore future faces with greater detail, perhaps keeping backgrounds and minor details loose to appease my impressionist spirit!

Again, my humble thanks.

[Marvin Mattelson]

Jeanine,

Pardon my little joke in the caption. I just always wanted to say that. Seriously, I appreciate your response to my painting and am flattered that I

[Jeanine Jackson]

Dear Marvin,

Thank you for the wise words of caution. The virgin sacrifice analogy will not be forgotten! Before I get out my fine sable brushes, I shall imagine the fiery pit and check my big shapes and planes first!

These principles have been taught by my Impressionist teacher, George Passantino, who is constantly reminding us to work "Big to small" and "Preserve the plane as details are added." You have really brought the point home with crystal clarity.

Bouguereau is a brilliant reference. I shall visit museum temples housing his work to pay homage and learn!

Do you photograph your work in stages? I'm probably not alone in wishing to see more. I'd be happy to buy your video, or book or take your course!

[Marvin Mattelson]

I just can't resist a good pun. I don't really shoot my paintings in progress. I actually shoot my own 4x5 transparencies when my paintings are completed. In order to do this I have to disassemble my studio to set up my photo lights. No video yet either, however, I am teaching a 5 day workshop from July 29th thru August 2nd at the School of Visual Arts. I have several students in my class who come down from Connecticut. It's seven hours per day and a good time should be had by all.

[William Whitaker]

Marvin,

I would recommend that every one of us take the time to seriously study the work on your website. Your clear, clean, orderly interpretation of your subjects is based on a long worthy tradition. You have indeed learned your lessons well, for your style is at least as difficult to do as it appears to be.

And for those who are seriously interested in this type of work, I would recommend you look at the work of Claudio Bravo http://www.puc.cl/faba/ARTE/MUSEO/MuseoExpoBravoI.html

And Meredith Frampton
http://www.artrenewal.org/asp/database/art.asp?aid=170

Years ago I saw Frampton

[Rochelle Brown]

Mr. Whitaker,

Thank you for the links.

You can see on the web that Yuqi Wang has a most masterful hand with skin texture. Gorgeous work!

[Marvin Mattelson]

William,

It is always a thrill to have my work favorably responded to. Having an artist of your talent and ability so graciously compliment my work is beyond description. I have been a fan of Claudio Bravo for many years and have had the pleasure of meeting Yuqi Wang on several occasions. Until today I was unfamiliar with the incredible artwork of Meredith Frampton. I am honored to be considered along with such an accomplished group of artists.

Although I am inspired by a wide range of realistic styles (some painterly, some highly finished and some in between) my own natural inclination has always been to develop my paintings in a more resolved way.

Unfortunately, I find that many artists are predisposed to a certain approach and automatically dismiss or invalidate that which goes against their own personal grain. I have always tried to judge art on the basis of how successful it is for what it is. However, I find myself highly critical with respect to paintings stylistically closest to my own, since the paintings I am most apt to criticize are the ones I

BEAUTIFUL!!!