Anna

Rob Sullivan · 02-21-2005, 12:46 PM

Another 3-hour session. Ebony pencils on Strathmore 100 lb, 17"x14".

This isn't as blurry as the other post, so the closeup is warranted. Anna had more tattoos (and piercings), but I didn't get them all in (Jimmie, don't be offended!) due to time constraints and the fact that some of it got "in the way", so to speak.

And, again, the opportunity to paint this young woman has passed. The positive side of these fly-by-night drawings is that I learn something new each time I get the chance to do one. One of the things that hits me every time is how incredible it is to work from life. My limited equipment (read: $) does not produce photographic reference of a high enough quality from which I would feel comfortable working. Especially with the nude.

Now I'm at a point where hiring models for something as extensive as a painting is prohibitive time-wise as well as financially. I want to explore this genre so much more, but the marketability of it brings heavy doubt. My landscapes do quite well, and I like them - so where does this work fit in?

Perhaps that's a discussion for another thread.

Jimmie Arroyo · 02-21-2005, 06:39 PM

CURSE YOU, I can't believe you did'nt get all the tattoos in!!! I'm so offended!!!

This has a much different feel than Rhonda, I guess because Anna is very tight compared to Rhonda's pose being open. Both very well executed, especially with the time constraints. Good stuff.

Rob Sullivan · 02-21-2005, 10:09 PM

Argh! I've been cursed! My paints are all runny and my linseed has turned to glue!

Oh, the levity! Thank you, Jimmie. I just wish I were as prolific as you with these drawings.

You know, posing models on a swivel chair causes them to tighten up a bit. It's not stable. I found this out after the fact. Of course, comfy couches can make them fall asleep... There's a fine line between languid and unconscious.

Sharon Knettell · 02-22-2005, 09:38 AM

Rob,

I always prefer to paint from life as I think it helps in many ways, including making ones' brushwork more expressive. That of course is not always possible, but the experience somehow does seem to have a beneficent effect on that work done of necessity from photos. Even Klimt used them to grab a few bucks here and there for his bread and butter portraits early in his career.

One suggestion I have is to share the models expenses with another. Do a set up that is amenable to both of you. You could add a third if you have the room and you won't end up killing each other. I am now paying $15 an hour down here in RI and for 16-20 hours a week and I know it can be a killer. The cheapest rate I found was 3 hours for $40 here. My present model is not a nude, but I think she is quite beautiful. My "Dakini" model was $15 per hour and was quite lovely as well.

Rob Sullivan · 02-22-2005, 01:19 PM

Thank you, Sharon - interesting fact about Klimt! I never knew that.

I had been paying my models $15/hr. I felt that they deserved it, though I could barely afford it. Now, that's just prohibitive, like I said. I did do some model-sharing for a bit with 2 other artists here in town, but it never progressed, as our 3 schedules plus the model's schedule never coincided. That is, I should say, nobody placed enough importance on it to set aside a specific evening or afternoon (except for me, who got left calling the model to cancel). It was frustrating. It's still a good idea, and I want to find some dedicated souls who would do this.

3 for $40 is a good deal! And your model for "Dakini" was worth every penny and then some. Woonsocket is probably 3 hours-and-change from here. Perhaps one day I'll visit, and we can split the fee, if you'll have me

.

Sharon Knettell · 02-22-2005, 01:52 PM

Rob,

Lucky for me she a a completely penniless RISD art student who had to drop out.

She had been encouraged to do some professional modeling while she was at school, but that did not interest her and she dropped out because of the prohibitiive cost. I could have done a million pictures of her.

It is always a struggle to find and pay models. You should see my car. The model always comes first.

Rob do drop in when you want to come to the warmer South.

Have you tried the Copley Society in Boston. It is a good way for area artists to get recognition.

www.copleysociety.org

Rob Sullivan · 02-22-2005, 02:13 PM

I like serendipitous stories like that. She dropped out, needed work and you needed a model, and she was perfect for it - because out of it came an amazing painting!

Warmer South. Ah, yes the tropical breezes of Rhode Island

. Thank you for your hospitality. I will take you up on it, I'm afraid!

I will also check out the Copley Society link, thanks for that!

David Draime · 02-22-2005, 04:35 PM

Rob, great drawing! I keep coming back to that knee and thigh (her right knee)...it's...PERFECT. Wow. You sure do have that foreshortenin' thing down.

Rob Sullivan · 02-24-2005, 10:01 AM

Thank you, David. I remember not too long ago in my student days, I would try and avoid foreshortening like the plague.

In the end, the effort was greater in avoiding it than actually doing it. So now I welcome the challenge. Not that I get it right every time, though....