Morten finally

[Allan Rahbek]

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]

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]

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]

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.

[Janet Kimantas]

Did someone already say retina-burn? This is astonishing. Congratulations.

That conundrum between looser and tighter brushwork winning higher points with the buying public does seem to go on and on, doesn't it? However, a wonderful painting is just that and transcends categorization. In my humble opinion... Janet

[Linda Brandon]

Gosh, Allan! What a terrific painting, such a feeling of energy and power in those strokes and in how you've caught this man's alert athleticism. I love the way you have dashed in those hands and how you direct our attention to the face, which you've painted with insight and sensitivity. I sure wish I could say that I had painted this one.

[Allan Rahbek]

Thank you very much Janet and Linda,

I really enjoy being part of this forum and getting response from wonderful artists like you.

Allan

[Allan Rahbek]

Originally Posted by Alexandra Tyng

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.

Alex,
I should so have liked to read your whole essay about not getting too close to reality.

I know why I want to incorporate the looseness in the painting. That is because I love to see the paint and the brush strokes - the process.

I like the vignette character and try to make a space for it even in a finished work. It makes a sort of vibrato to the whole expression, much like the one in the impressionistic paintings by Monet, though not only related to color but also to the shape of things.

Allan

[Terri Ficenec]

Lovely Alan! Love the brushwork!

[Michele Rushworth]

I love this -- so much power in the gaze, the color and the brushwork!