Portraits v. Landscape v. Still Life? - Page 3

Jim Riley · 01-16-2002, 02:34 PM

Tim

If you have Photoshop you can combine images in a new page but it still has to be within the forum limit of 400 pixels and therefore will be smaller for each pic. I did this in my post for mediums, paints, composition and techniques, "edges".

Timothy C. Tyler · 01-16-2002, 06:31 PM

Aspen Bath, oil 16x12... a figure in a landscape, this has been the most popular painting among artists that I ever made.

David Dowbyhuz · 01-17-2002, 10:11 AM

Magnificient, Tim! What a glorious composition.

I have looked at your very versatile web-site and didn't see this gem! Why are you "hiding" it?

The dynamics of your figure, the rocks, the water ... I'm at a loss for words. I am very much in that group of artists who admire this piece!

Congratulations.

Timothy C. Tyler · 01-17-2002, 11:45 AM

I'll tell you why, I sent it out, my site, to a couple of "very conservative" printing houses and didn't want them to know what people looked like w/o clothes on. The oddest things can offend people.

Thanks for that review, I'll bask in it all day, Tim

Timothy C. Tyler · 01-19-2002, 01:41 PM

This about 16x9" it was painted all from life and alla prima

Timothy C. Tyler · 02-09-2002, 11:13 AM

I just spent a ton on a new camera and etc for it-software will be next I suppose

Mike McCarty · 02-09-2002, 01:23 PM

I think its the psychological makeup of the person. The mind of a person who excels in portraiture seeks out the borders, fences and the confines of a portrait. Even still life has these elements. But a landscape is different. So much ****ed freedom. If my cloud goes here there it just doesn't matter. I think the portrait painter wants everything to matter.

Michele Rushworth · 02-09-2002, 03:10 PM

I think Mike hit the nail on the head as to why I enjoy portrait painting so much. He said "the portrait painter wants everything to matter". Not only do I want each element in my paintings to matter (what kind of chair the sitter is in, what their facial expression conveys about their personality, etc) I also like knowing that the whole painting matters deeply to the people commissioning it.

If I paint a great still life there's a chance it will strike an emotional chord in someone seeing it, but maybe not. How excited can you get about pears anyway? But when I paint a portrait of a newly adopted child or a portrait of a client's mother who passed away last year (two of my recent commissions) I KNOW it's of great meaning to the family. That drives me to do the very best work I'm capable of and gives me immense pride and pleasure in what I do.

Timothy C. Tyler · 02-09-2002, 08:19 PM

I wish not to misattribute the quote, so shall I say,"a famous" portait artist once said that all artists want to paint people. Speaking to this- I agree. Even after all these years it's still a drive I have. I used to include one figure usually a nude in a grouping at shows. It would always get notice. The veiwers then were compelled to spend equal time with my other works.

Jim Riley · 02-10-2002, 06:37 PM

Clouds

I too have choosen portraiture over still life, landscape or whatever, and have some fond and moving memories and stories relating to the response from some of my efforts. I love it!

I must say, however, I believe it a mistake to suggest that because our work is more readily measured against it's specific goal and purpose and that the subject and execution of landscapes or still life is somehow an accumilation of things that don't "matter" seems unfair.

Once portraiture skills are developed getting response from those emotionally attached to the subject can be expected. For the rest of the world the subject might just as well be a pear or a cloud.

I have attached a painting by one of my favorite watercolorists (Roy Mason) who more that half the time will include people (Tim)(usually hunters) but selected this one because it came to mind as a good example of how a cloud can matter.