Marina from life

[Peter Dransfield]

It was a good idea to take the larger canvas. Good sense of unity. I like the unfinished feel of the eyes - it encourages that feeling of becoming that Thomasin also captures so well.

[Alexandra Tyng]

Thanks, Marina! I was wondering how you would feel seeing your portrait on the forum. It occurred to me after posting that I could have asked you first. I'm relieved you think it captured something about you, though in my opinion it does not measure up to the real you. Thanks so much for giving us Phila. artists your time and knowledge.

Peter, thank you. Yes, the eyes were definitely in the process of becoming. You can say that again! I am glad you see the positive in it. I also enjoy seeing that process, often slightly unfinished, in others' work but it is harder to appreciate in my own work. Not that I like everything highly finished. On the contrary, I like to see evidence of brush marks. But this was like taking a test and being told "time's up" when you could have easily answered the last couple of questions.

[Peter Dransfield]

Michelangelo could have finished the slaves for Pope Julien's tomb but I am very glad he didn't. I think so often there is more creative tension in the becoming than in the become. Solid drawing by the way.

[SB Wang]

http://www.techup.org/mentor/mn_rolemd.html

[Carlos Ygoa]

Alexandra!

This is such a solid study! The likeness (from what I have seen of Marina in this forum) is fantastic and the way you have positioned her on the canvas in that classic L-shape echoes the elegance of the sitter. My attention is also called by the fact that the point of view is slightly below sitter

[Alexandra Tyng]

Thanks for the additional thought, Peter.

SB, that was a wonderful link. I'm going to pass it on to so many people I know. On the forum there are so many artists whom I consider to be role models in so many ways, personal as well as artistic. It's true, age doesn't matter.

Thank you, Carlos! Such nice words--I really appreciate what you say about placement. when I'm doing a life study I enjoy looking back and forth between the canvas and the model or a few minutes, imagining where to place the figure. Then I just make a stab at it. I would say I get it right about 80% of the time, and this amazes me when I think of how much planning I put into a large canvas. Just the act of doing this is, for me, one of the exciting parts of painting from life.

By the way, Marina is not only an exemplary model, but also an amazing teacher. Her workshop was extremely informative. It opened up all kinds of possibilities and ideas. I know my opinion is shared by the other artists who took her workshop.

[Ilaria Rosselli Del Turco]

I like the fact that despite the short time span, you managed to give equal importance to each part of the figure, including the shawl. Everything looks very convincing and reflects your energy and concentration
Ilaria.

[Linda Brandon]

Alex, i'm so glad you posted this painting - it has a wonderful sense of movement and grace. (And I'm so sorry to have missed the workshop and the gift of having Marina as a model!)

[Alexandra Tyng]

Thanks so much, Ilaria and Linda! Wish you both could have been there.

[Allan Rahbek]

Alex,
I so enjoy looking at the results of your open studio, I'd whish that I could join you some day.