Most Popular Paintings - Page 2

Celeste McCall · 11-02-2003, 05:17 PM

Yes, you guessed one of the things that I am noticing in the pictures, that of the colors (being near equal in values in the black and white versions) appear to be very different in value in the actual colored versions.

What or why exactly is that? And the old warm/cool wavelength thing doesn't actually explain this well enough either. Because that does not deal with it's value issue. He could not have lightened this with a yellow white and still maintained the overall weight of the area.

Celeste McCall · 11-02-2003, 05:55 PM

You said, " warm/cool juxtapositions define form (which disappear in the b/w versions)?"

Yet, he is not defining "form" in the sky?

Also, if you are looking at the night sky and see something that you want to see better, then don't look directly at it and it will appear brighter. This is a common phenomenon. But unfortunately I can't explain it. I'll have to Ask Jeeves I guess.

John Zeissig · 11-02-2003, 05:57 PM

Hi Celeste,

I believe that the portrait that Tim posted is "The Laughing Cavalier" by Frans Hals, 1624. But I have to admit that the cavalier does bear an uncanny resemblance to Tim, given a little change in styling of facial hair. Also Tim does, on the whole, tend to dress a little better than the cavalier. Still, it's not too surprising that you might mistake this one for a self-portrait!

I'm a little confused too at what you're getting at. In the Monet, the sun appears to be entirely produced by color contrast, with no value contrast whatsoever.

John

Timothy C. Tyler · 11-02-2003, 05:57 PM

Celeste, That's about the nicest question anyone ever asked me. Not mine, I will strive to be able to paint so well.

I understand the points you are making about value.

Timothy C. Tyler · 11-02-2003, 06:09 PM

I always was told I look more like Rembrandt, but John is right about the dress.

I think the "looking off" away from the viewer is less confrontational and less engaging to the viewer. Figurative work that is not "purely" a portrait often does this. Most people would be hard pressed to say what is the difference between portrait and a figure paintiing. It's almost like the difference between naked and nude... but this is another subject.

Celeste McCall · 11-02-2003, 06:55 PM

Surprising that the values in black and white look so different from the perceived values in the colored version. Can anyone explain that?

And why was that so important?

Celeste McCall · 11-02-2003, 07:05 PM

Dear Tim,

Looking away as you say is another very important similarity in many famous portraits. Example: Mary Cassatt. I can not think of even one of hers that is looking dead on at the viewer of the art.

But that is not one of the three that I am seeing. But that could be a very important fourth.

Celeste McCall · 11-02-2003, 07:31 PM

Dear John,

I'm glad that you informed me of the portrait. Of all the women's portraits that I could name, I could probably only recognize about 50+ of famous old master portraits of males. So thanks for the info. Did resemble Tim a little though.

Kimberly Dow · 11-02-2003, 07:54 PM

When Tim arrived that first day of the workshop dressed like that, well - we the students were a little shocked.

But, wow - you should see what he does to the paintings with the ends of his moustache - not to mention the feather from his hat.

Celeste McCall · 11-02-2003, 08:11 PM

Dear Kimberly,

Wow, sounds like he is quite a cavalier type of guy!

Sounds like you really enjoyed the seminar with him also. He must be a terrific teacher.

Did you have any thoughts on the other topic of discussion? What about similarities in colors or color combinations? Or any other similarities that you have noticed in the most popular paintings of Monet, Van Gogh or ?