Morten finally

Allan Rahbek · 04-14-2006, 04:18 PM

Morten,

Those of you who have seen this painting of Morten in the WIP section will know that there was an interlude of a burning roof and delay of painting it.
The remaining part at that time was mainly the lower half with the arms and table. I also decided to widen the painting by 5 CM on both sides.

The painting is now in a show where I had a few shots at it today.

I add some details too. There were some glares on the top of the pictures from today so I used a detail of the head from an earlier state where only the collar is changed a bit.

70 x 55 CM oil on canvas.

Allan

Mary Pedini · 04-14-2006, 06:25 PM

Allan,
This is terrific. I admire the way you handle the paint and love your colors.

Mary

Alexandra Tyng · 04-14-2006, 07:13 PM

Oh, Allan! I love everything about this portrait and seeing it finished is a real treat for the eyes.

Conceptually it really grabs me. His intense eyes would be enough by themselves, but combine them with his mixture of sensuous and slightly aescetic face and body language (arm position) and you get a really powerful portrait that appeals on many levels. Many women will love this (hey, I'm 52 but that doesn't make me immune to his charms) but men will love it, too, because it is so much more than a portrait of a good-looking man. He is totally an individual. The fact that you have captured all this is remarkable.

In other words, it has "retina-burn" galore. I hope you enter this in a BIG competition.

Now on to the technical level. This is also a winner because of your total command of composition and mood, as well as edges, color temperature, value, etc. I especially love your big, broad brushstrokes. Thanks for posting those closeups.

Okay,enough already! You get the idea.

Alex

Claudemir Bonfim · 04-15-2006, 07:44 AM

Hi buddy...

That's great!
I liked it very, very much. I liked the composition and the rythym, and also the way you inserted that table, when I saw the reference photo I wondered how you would portray the arms, and that was a good idea.
Your impasto is great!

Allan Rahbek · 04-15-2006, 09:24 AM

Thank you Mary, Alex and Bonfim for your appraisals.

Alex,
Your very generous analyze totally humbled me so I had to go out into my garden to think of something else to say, than "I agree".

When I was younger I used to be almost paralyzed in the company of beautiful people, but now I merely think "good for you" and try to look at my models as they are in the whole, body and mind. Actually I find that beauty is more and more a psychological thing.

One of the visitors, at the varnishing day, said that I seems to like my models. I am glad that it shows.

Thanks again, Allan

Claudemir Bonfim · 04-15-2006, 10:20 AM

The way you did his hands reminds me of Shanks.

Allan Rahbek · 04-15-2006, 10:39 AM

Bonfim,
This is the hands of Pavarotti. I have once met his double. He lives in Mehamn in the northern of Norway and is a fantastic singer too.

Notice how Shanks crosshatch his lines rather than draw along them.

Allan

Sharon Knettell · 04-15-2006, 11:56 AM

Allan,

This is just wonderful, even without the 'window'.

It is an intense beutifully painted picture of a young man. If only my brushstrokes were so loose!

Allan Rahbek · 04-15-2006, 12:32 PM

Quote:

Originally Posted by Sharon Knettell

Allan,

This is just wonderful, even without the 'window'.

It is an intense beutifully painted picture of a young man. If only my brushstrokes were so loose!

Sharon,
Thank you and sorry for the "window" That was a real joker and I almost regret that it was not for real.

About loose brushstrokes; I am not quite sure that so very many of our clients really appreciate too loose works. They seems to think that 100 strokes are better than 1.
It

Alexandra Tyng · 04-15-2006, 09:07 PM

Quote:

Originally Posted by Allan Rahbek

About loose brushstrokes; I am not quite sure that so very many of our clients really appreciate too loose works. They seems to think that 100 strokes are better than 1. . . . I think that it is worth. . .taking the time to educate the customers to see the art in the paintings, and not only the likeness.

I couldn't agree more, Allan. I just typed a long response and my internet service was interrupted! This will be short in comparison. I can't tell you how many times people see the tiny image on my business card and, thinking to compliment me, say, "Wow, this looks just like a photograph!" I just grit my teeth inwardly, smile outwardly, and say "Well, if you saw it in real life you would definitely see a difference," and then they seem to realize that it's not desirable to look like a photo, but it's a friendly exchange, and usually we end up having a short conversation about it.

Artists often are reluctant to loosen up even if they want to, because their clients prefer a highly finished style. It can be very frustrating.

It's so important that people understand that it takes a lot of skill and practice for artists to describe something with a few descriptively accurate brustrokes.