Josie Carlie and Eddy, dyptic

[Linda Nelson]

They'll have to fight it out :-). Actually it's amazing how quickly that issue arises after the painting is delivered. I often make 1/2 size giclee reproductions for my clients' parents, inlaws. Ithink they feel someday the children will get grandmas giclee.

[Richard Monro]

Linda,
Your paint brushes must be on fire from the speed at which you have been moving them.

These are beautiful. Pairing them as a dyptic is a stroke of genius. The composition is great but what I like the most is the looseness of your style. It is loose but it reads so well. Stunning.

P.S. - You and Kim Dow will have to duke it out for the most prolific painter of the year award.

[Linda Brandon]

Oh Linda! Very nice job! Very Bastien-LePage, I love it.
I also have a diptych, nearly done, of children in a two square/one rectangle format. I love this design parameter and I love what you have done with yours and the fresh and loose outdoor color.

[Linda Nelson]

Thanks Richard and Linda - Linda I look forward to seeing yours. I have often looked forward to doing a a multi canvas approach, but this was the first project where it was really the "obvious" way to go. Given it's benefits, it's surprising it's not done more often.

And having you mention Bastien-LePage is awesome. I've been studying him and a few others lately and it must of leaked out through my brush. Cool!

Richard, thanks for the compliments. I have been a painting banshee these past few months, and I can attest wholeheartedly that there is no better way to not only learn but discover and invent who you are on canvas.

[Ilaria Rosselli Del Turco]

Linda, this is a very good work!
The diptych is not such a straight forward thing as you make it appear! I really like the idea of having two on one side and one on the other, it avoids a dangerous symmetry.
The painting is extremely successful, and not only as a portrait !

Ilaria

[Alexandra Tyng]

Originally Posted by Ilaria Rosselli Del Turco

it avoids a dangerous symmetry.

I agree. And you've done a lovely job of the textures and colors of the outdoor setting.

Can you tell us a little about how you and the client settled on this arrangement? Did the client give you carte blanche? Did you discuss the topic of who would get what eventually before you began the painting? I think many of us would be interested to hear how this came about.

[Tom Edgerton]

Linda--

Wonderful paintings! I saw a similar arrangement at a client's several years ago, except it was three kids on three separate canvases in one frame, so they could inherit the paintings later as adults. What makes it work well is when there is a common horizon, as in yours.

Wish I'd thought of it....

--TE