George on Montgomery

Janel Maples · 03-24-2006, 10:58 PM

Couldn't you just eat him up?

I love it when a portrait brings such a smile to my face. You can't see it, but know it is there.

Janel

Alexandra Tyng · 03-24-2006, 11:50 PM

Many thanks, Marina, Linda, Kim, Garth, and Janel!

I couldn't help but paint George with lots of life. He was busy with one thing or another the entire time I was there. He also has a sweet personality which I tried to capture. When he smiles he just lights up. His mom wanted me to paint his "little chicklets" (teeth) so I figured out a way to do that without a toothy grin, which I think would have looked too "frozen."

Kim, the marble thing in the background is a fireplace surround. You see them in a lot of Victorian houses around here,but usually with an open grate that originally was meant to burn coal. This one was closed, but had an arched ornate heating register in the center at floor level. I've never seen one like that before. I eliminated the heating vent to simplify the composition for two reasons: 1) I'm not sure its identity would be easily understandable, as it would be partially behind George's sweater, and 2) it would have complicated George's sillhouette.

Thank you all again for the kind words.

Janet Kimantas · 03-25-2006, 10:43 AM

What a gorgeous painting, Alex. Fresh, lively, cute as all get out... I am struck by a very lively texture to the surface - am I seeing that right? It just seems so vibrant. Beautifully done. Janet

Terri Ficenec · 03-25-2006, 10:56 AM

Ooooh Alex I love this! you've made it look so natural. Love the composition, the expression on his face and how you've included the train set. Scrumptious!

How big is it?

Ilaria Rosselli Del Turco · 03-25-2006, 11:13 AM

Alex, it looks like he could jump up and leave the painting anytime.
Great work!
With the usual admiration
Ilaria

Alexandra Tyng · 03-25-2006, 12:11 PM

Thanks, Janet, Terri, and Ilaria, I really appreciate hearing such nice comments from all of you!

Janet, in regards to the surface texture, it's pretty flat with a slight amount of texture, and every now and then a more dimensional stroke. I think I use a lot of paint but once it's on the canvas I wonder where it has all gone. I start thin and get thicker, especially in the lights, but it's definitely not what you'd call bumpy or chunky.

Tom Edgerton · 03-27-2006, 05:52 PM

Alexandra--

Nice job! Your stuff is so interesting compositionally....

Alexandra Tyng · 04-01-2006, 09:44 PM

Thank you, Tom. I deeply admire your portrait of Patrick, so coming from you this means a lot.

Below is a closeup of his hand:

Lacey Lewis · 04-02-2006, 01:09 AM

Beautiful Alex! I can even see the light dancing, trying to keep up with him.

Julie Deane · 04-02-2006, 07:44 AM

HI Alex -

Wow - you keep giving us these beautiful paintings, and they seem to pop up here so quickly! How do you do it?

Lovely composition and painting. Just curious - why did you name it Georgia on Montgomery? I pulled up the thread expecting to see someone riding a horse.