Vic and her flute

[Mike McCarty]

Valerie,

Thanks for the look. I too am leaning towards Steven's version, sans fowl. Also a less ditzy flower set up as Sharon suggests.

I have had others respond the way you have regarding the hair up versions. For me it's a close call. I like her body and dress in the chair and I don't have the hair up version in the chair like the first one.

Steven, you wrote:

[QUOTE]I

[Mike McCarty]

This is another hair alternative that I like (probably bunned up in the back). It gets to be more about her face than her big hair, not to mention my ability to interpret it.

There are plenty of other challenges in this composition (simplify, simplify, someone said). Not the least of which is the flute. Why not holding an apple, a lemur, or a crysler cordoba with rich corinthian leather?

This image is cropped from a photo I took last year. I think I could get her back, snap this image in context, and make it work. And when she comes back to model the pose, have this do in place.

Still pondering the issue. I started the sketch on canvas yesterday.

[Mike McCarty]

combined ...

[Sharon Knettell]

Mike,

I hope you are not going to ditch that perfectly wonderful first pose of Victoria. I regret having said anthing including the remarks on her skintone which could be simply remedied by some work from life and a simpler bouquet. It is a very elegant and well posed portrayal.

You have a great innate sense of design and you photograph women especially beautifully.

I think your first instincts were on the money, you had your own sense of what was off already without going through the gyrations you are going through now. I think my input just short- circuited your own critical thinking which is most important to the success of any work.

Good luck on this piece, I know it will be gorgeous. Erase everything I have said and trust your own judgement, it is all you need.

Sincerely,

[Michele Rushworth]

I, too, love the first pose, but I think it would be a much stronger painting without any background elements.

The complexity of the hair, dress, flute and chair will keep this painting interesting. Check out Peggy Baumgaertner's compositons for strong, foreground shapes on very simple backgrounds. Classic.

[Michele Rushworth]

Here's a possibility.

[Mike McCarty]

Sharon,

I spent the day sketching and pondering the composition. I think that I am heading back to the big hair. It's not worth the grief of combining images.

I wouldn't shy away from giving your opinion. I'm a big boy, I can handle it. You guys are a terrific source of knowledge and I value your input, but in the end I will filter it all out through my own best judgment. And thanks for those very flattering remarks. You're no chopped liver yourself.


And by the way, I checked with my French student on the "cerise" color. "Cherry," she says. I'm looking to go a dark cherry red loosing into the background.

Michele,

I did one of those Photoshop renditions exactly like you have done. However, I think that I'm going to attempt the table with a vase and mass of loose formed and toned flowers. I'll include the single partial frame on the top right, lose the armoire and darken the wall as it goes off to our left. So the flowers, vase and table will be a mostly dark affair against a darker wall. At least that's today's plan. It could change tomorrow. Thanks Michele for going to the trouble, mine didn't look as good as yours.

In going through my images I cropped one down to the following that I like for another day. Probably a 16x20.

[Michele Rushworth]

I look forward to seeing your final painting, whichever direction you choose!