Blog

I'm busy preparing for a new exhibit opening in May with approximately 25 new paintings, as mentioned in the August newsletter. In the meantime, some new business cards got me thinking about a previous exhibit. 

Yep, that's me at my easel.

But this is only a small portion of the original painting, called Model Break (oil, 30x24", 2016). If you haven't seen the painting before, there's a lot more to it, and I'd like to share a bit of its story with you.

Model Break, oil, 30x24", 2016

 I began Model Break in late December 2015. The concept began with the model alone, but eventually evolved into a quasi self-portrait and glimpse into an artist's studio environment. The painting took over 80 hours to complete.

I had been working with the model, Josh, for about two years at that point. Several other paintings also feature Josh: Late For Practice (2016), Joshua's Flowered Shirt(2014), Joshua With Sketchpad & Pencil (2018) and Young Man on Wicker Sofa(2020). 

 

About a hundred photos, including the images above, helped me narrow down the gestures of the figures. For the painting, I relied on the photos of myself assuming the pose in the background. The model and the surroundings in the studio were painted from life or from studies painted from life.

An 11x14 study (above), completed from life, served as an invaluable reference, along with the photos, in the completion of the final painting.

On a stretched linen canvas toned a with a wash of raw sienna, the figure was drawn first with charcoal, and
then reinforced with paint marks of a warm purple-brown.

At this early stage of the painting, color masses began to be broadly established, with the oils having a rather thin application.

After establishing color over most of the composition, I would return to a specific area. In the image above, you'll see the face of the model begin to be articulated. The broad masses from earlier are built upon with smaller, thicker masses of paint. From that point forward, the rest of the painting is elaborated upon in the same manner.

In this detail from the finished painting, notice the how similar Josh's skin tones are to the colors captured in the 11x14" live study. The small sketch painted from life, while lacking in detail, provided an on-the-spot record of color nuances that the photos simply did not capture.

That's Josh and me in front of the painting on opening night of the exhibit. The painting sold that evening, and it's part a beautiful private collection that I'm honored to be in.

 

Want to see more of the painting? Click here for more details on the piece, including a video link for the entire exhibit preview.