Portrait by the water

[Marvin Mattelson]

Originally Posted by Julie Deane

Thanks, Marvin. Slowly but surely...I'm continuing to plug away at it.

If you stay aware of the principles that guided the great artists your path will continue to be revealed.

[Alexandra Tyng]

Julie, I'm so impressed! Not only is this a masterful portrait, the landscape behind it is magnificent.

First, the figure. I like how he's looking of, not at the viewer, but at something else, maybe his surroundings or maybe he's deep in thought and just gazing absently. The light and shadow colors and values on his skin are just right! I also love the placement of the figure.

As for the landscape, again the colors and values are extraordinarily true -to-life. The colors are harmonious with the figure, but subdued so that the figure stands out. It appears to be a particular place, but you have not given in to too much detail. The rock he's standing on is a great lead-in to the water and shore.

A work of art!

[Julie Deane]

Thanks, Marvin. I greatly appreciated the lessons I learned in your workshop, and am endeavoring to keep them in mind.

By the way, I finally get to visit the Met this summer, and will be thinking of your lecture "Everything I know about Painting I learned at the Met" as I visit!

[Julie Deane]

Wow, thanks, Alexandra,

I worked hard on the composition, using what Juliette Aristides calls the "Armature of the Rectangle". Patty Joyce saw my original oil sketch and can testify that there was a noticeable improvement in composition using those design principles.

I used this color palette:
2 blues: cobalt and manganese
2 reds: alizarin crimson and cadmium
2 yellows: naples dark and yellow ochre
1 black: ivory black
Raw umber

Oh, and a touch of gold ochre in the hair. I am a believer in choosing a color palette according to what I think the painting needs.

I feel that I could have put more crispness and value contrast into the rocks, but I am pleased overall, so thank you.

[Mike Dodson]

I love this. The edges are modeled beautifully. This piece is very pleasing to the eye. My favorite of yours by far!

[Julie Deane]

Thanks, Mike.

[Natalie Hunsaker]

Congratulations on a wonderful finished product! It feels good to finish a commission, doesn't it? Well done.

[Debra Jones]

The boy is wonderful, but above all the mood here is marvelous. I love that light. I love that weather, the evening rolling dark clouds with long low light. I crave it and you satisfied me. A pleasure to watch.
dj*

[Julie Deane]

Many thanks.

Allan, it is a way of dividing a canvas according to geometric proportions. It's not a foolproof method, but it helped me align significant lines in the composition to relate to the rectangle shape within which they were contained. Here is one link, although I prefer Aristides' book with her examples:
http://artiseternal.wordpress.com/20...e-proportions/

Natalie, yes, it was satisfying to see the mom's and grandma's delight with the finished product.

Thanks, Debra. I am glad you enjoy it.

[Carol Norton]

Julie, I am completely charmed by your painting! I admire every part of it, from his expression to your style. The parents of the child have a real gem!