Lines

[Garth Herrick]

Hi Ilaria,

I am anticipating that you will have solved your compositional dilemma by the time you post another image. I think your rectangular scheme is going to work. If I had not told you before, I do so much love your painting style, and strength of your compositions.

As a photographic portrait, I love your reference as it is. Interpreting this successfully into a painting, as you have shown us is unfortunately problematic, since the complexity of the bannister begins to overwhelm the softness of the boy; yet it works as a photograph.

Could you tell us who that Italian painter of the early twentieth century is? I really love that dynamic composition, and the way the architectural elements have been successfully integrated. I would really like to see more of this great painter's work. Thanks for sharing this.

Garth

[Timothy C. Tyler]

If I may make a general remark, I'd say just learn how to conquer any of these background challenges and make them work for you. Sargent, Zorn and yes R. Schmid handle this well. One key is to soften the intersecting point; letting one shape, normally the one in the fore, be much crisper and blur (or deny) the other so as to eliminate the linear intersection.

In portraits, lines and backgrounds can really add power to a work. I admire strong works that use the lines and shapes to the artist's advantage. I think you can make the rail work but it will take some effort. If you were to mirror the rail and place it on the other side I think you like that better and don't worry about the eyes exactly-the force will be with you.

[Garth Herrick]

Originally Posted by Garth Herrick

As a photographic portrait, I love your reference as it is. Interpreting this successfully into a painting, as you have shown us is unfortunately problematic, since the complexity of the bannister begins to overwhelm the softness of the boy; yet it works as a photograph.

Ilaria, if this is not too off topic, here is an example of an architectural element that I needed to almost completely diminish to make the painting work. The full work can be seen here:
Human on My Faithless Arm

Can't wait to see your resolved portrait!

Garth

[Ilaria Rosselli Del Turco]

Garth, the name of the painter is Oscar Ghiglia. I stumbled on a catalogue of an old exhibition of his work. I must say that not all of them are as nice, infact just a few, I will scan them and post them. Ghiglia belongs to a group of painters who worked in Livorno, a town on the coast of Tuscany, you can see their works here. http://www.comune.livorno.it/arte_cu...ori/autori.htm

Thank you for the great example, I understand what you mean by pushing something back, specially seeing the actual colour of that... whatsit. In my case I did not manage to create such a strong dialogue inside the painting, also it would have taken away from the boy. But... did you notice how the presence of a background easily turns the portrait into a painting, I mean a self sufficient one? I never had many "marbled" backgrounds, but I decided I won't paint them anymore, even a piece of cloth behind the subject will be enough for me.

Timothy, I am ashamed to say I went for the easy solution and just painted over it... as you say it would have taken too much effort! I had in mind to try and blur the rail, but then there would have been too many vertical lines to blur, I think it might have looked weird. I am planning to try and include the rail in a still life, just to take the challenge.

Linda,
Rembrandt painted himself with circles drawn on the wall behind him, the painting is in Kenwood house (the Iveagh bequest) here in London; Also my favourite English painter has some circles behind his models, I would post them but I think I can't post nudes.

Thanks to all
Ilaria

[Ilaria Rosselli Del Turco]

Well, I signed it, so I consider it finished, even though I might still do something on the face just to perfect the likeness.

I consider it a dignified escape...
Ilaria

[Cindy Procious]

Wow - you resolved your dilemma in a very sophisticated and successful fashion.

Very nice.

[Garth Herrick]

Ilaria,

This is wonderful, and so much more than "a dignified escape", as you call it. I especially like this one of yours'. The stability of the subtle rectangles support and interplay well with the gesturing figure and his tilted head. This is a very elegant solution and one you can be proud of.

Garth

[Julie Deane]

Hi Ilaria -

I echo Garth - he said just what I thought. Nice job!

Julie