After working on figure studies for the past few days I figured it was time to paint a figure a bit larger and spend much more time on it.
What I’m struggling with most is trying to keep the brush work loose yet accurate at the same time. It seems to me that this is a skilled that is learned over a long time with many many figure paintings. When I look at Rembrandt’s early work it’s super detailed, almost photographic but his looseness seemed to be learned over time. Who am I to argue with the great master of portraiture.
Interesting how the high chroma color under the rib cage seems off when in color but it looks correct in black and white.
On another great note, my father made this amazing table for us and shipped it all the way from Kentucky. It’s so nice that I now feel like we need a better apartment just to house it. We’re going to re-arrange the living room at least.
1 thought on “Figure: Pulling it All Together, Session 1”
You are getting better. The first thing I noticed on this painting was the way you were able to capture her ribs showing. Okay, so not “Rembrandt” but you got this non-artist to notice something pretty detailed, and that’s something extraordinary if you ask me