Recent oil sketch

[William Whitaker]

It's been hundreds of years since I posted here or anywhere else.
I'm still pushing my brush around, although much of what I do is pointless and a great deal of the rest is futile.
I'm ducking most portrait commissions until I figure out a way to do something that could contribute to the field rather than just do my same-old same-old.
That may never happen.

Meanwhile, I paint folks I'm interested in and people I can talk into sitting for me
The woman depicted here is a family friend. Knowing her well gave me confidence I could get something both physical and spiritual.

It's oil on panel and measures 10x8 inches.

[William Whitaker]

Unfortunately, it doesn't get more interesting as I enlarge it.
I paint using layers. indirect painting.
I grind a few of my own colors and use stack process White Lead.
I guess I'm trying to channel the Old Masters.
However, the white lead makes a more wall-friendly and sensitive painting, although it doesn't photograph as well as a Titanium white-based oil painting.
Nothing is perfect in mortality.
Darn.

[Cynthia Daniel]

Just gorgeous!

[Michele Rushworth]

This is so beautiful, Bill. Sorry you're going through some existential angst. Happens to all of us at some time, I suppose.

Meanwhile, this portrait is a real step in a different, deeper direction, it seems to me. There's something about it. Richer, more sensitive than even all of your other amazing work.

[Richard Budig]

Bill, great work, of course . . . and, good to see you. I was worried that they had put you in the home. . .

[Ngaire Winwood]

Just beautiful Bill. Another example of your esteemed workmanship. Thank you for sharing.
If you are ever interested in a chat to someone about your latest thoughts on portraits or about your process I am full of ears and enthusiasm.

It is so great you have posted here again. Welcome back.

Cheers

Ngaire

[John Crowther]

Beautiful painting. And I understand completely your existential struggle. Needn't feel sorry about it, the quest is universal and important, recognizing that all art, but perhaps especially portraiture, must be far more about content than technique. Universality is found by recognizing that the face itself is only significant when it reveals the soul within, and that far too often we look at portraits and the only thought we see reflected in the subject's eyes is the need to hold still, or the desperate desire to present to the world a mask that hides the true self. The portrait artist's most profound responsibility is ripping away that mask, something too frequently impossible when confronted with the realities of the commission.