Aaron Robert Saper: A Gift to My Son on His Bar Mitzvah

Chris Saper · 10-05-2002, 12:12 AM

Oil on Linen, mounted on Masonite
24" x 18"

It's been some years since Aaron has been interested in having his picture taken for a painting, so I am thrilled that he wanted me to paint this piece.

I worked this piece in what is a fairly typical pattern for me: planning carefully the placement, and finding the center (on a rigid surface, I have no "fudging" opportunity to crop out compositional error at the end), then sketching with Terra Verte, as in Verdaccio. I virtually completed the background before beginning the figure. I find that this is the best way for me to judge value and color, against a somewhat complete context that is already established.

Virginia Branch · 10-05-2002, 07:15 PM

What a wonderful gift and beautiful portrait. It is something he can treasure the rest of his life. You did a wonderful job on his hands. Thank you for posting it!

Renee Price · 10-21-2002, 09:20 AM

Beautiful job! And what a handsome son!

Renee Price

Jeanine Jackson · 10-21-2002, 09:53 AM

Wonderful outdoor portrait! The ultimate gift!

Mike McCarty · 10-21-2002, 12:28 PM

Quote:

I virtually completed the background before beginning the figure. I find that this is the best way for me to judge value and color, against a somewhat complete context that is already established.

Chris,

This is interesting to me. Don't you find that this can work in just the opposite way for other types of work? I have done it both ways and it just seems to evolve in ways that I can't always predict.

Will Enns · 10-21-2002, 12:30 PM

Chris,

It is a forgone conclusion that Aaron would want to sit for you. Who would not? Clearly he is in the hands of a master.

Even though we have not seen a reference, I think you have brought out the best in him - he must be very pleased.

May I be your son too?

Will

Chris Saper · 10-21-2002, 12:47 PM

Thank you all very much.

Mike, I'm not sure what you mean regarding other types of work. I only know I regret it every time I leave the background to the end...it doesn't always have to be finished, but at least I need color and value.

Will, Sure join the family, especially if you live anywhere near Whistler; we'll be up for Christmas dinner.

Mike McCarty · 10-21-2002, 03:15 PM

Chris,

I think I got a little confused. If you are going to integrate the background with the subject, edges and value and such, it seems that you have to get started to some extent. Was it the strong value of the backgound that lead you to complete it first? I can see that you would want to get a good sense of its total strength as you proceeded.

Elizabeth Schott · 10-21-2002, 06:55 PM

Chris,

Congratulations to both you and your son!

This may sound silly, but since I have not used oils, isn't it harder to work on the figure with a totally wet background? Do you let it dry first? How long does that take? Like the green tomatoes in a brown paper bag that never turned red for me no matter how much time I gave them (they didn't turn brown either) - all I remember is my oils never dried, maybe I used too much linseed or something.

Chris Saper · 10-21-2002, 08:02 PM

Oh, I see what you mean, Mike. When I place a dark foliage background, I will usually work the background past the silhouette of the figure, then let it dry. The only reason for letting it dry is that I use lots of Pthalo green, which spreads into any other adjacent colors like a drop of food coloring in water. Then, once dry, I will work the edges of the figure and more background color simultaneously...yes, you are right, edges need to be wet to integrate them with the background, and to control their hardness, softness, or lost/found qualities. I don't remember if I have any in-process photos, but I will look around and post if they show anything relevant.

Both color and value are the reasons I get the background in right away. It doesn't need to be completed at all, just very close in value to the finished value, and it must conveny the dominant hue. I am sure others work in different methods, this one just works for me.

When I am not using Pthalo green, I don't worry about whether background color is dry or not, as the other colors on my palette don't "bleed" like the green. Still both sides of the edges need to be wet to get the edge character I want. This holds for all the edges in the painting, not just the silhouette edges.

Beth, thanks. It's not hard to work with wet background or other areas...I use my right pinky finger as a mahl stick for most areas, and for more detailed areas, a real mahl stick! It just takes some adjustment when you are used to pastel. I don't know why your oils didn't dry, but perhaps there was too much oil if you added some. As to the tomatoes, I think that if they are chilled/refrigerated first, they lose the ability to ripen later.