Blue & Gold Lesli Triptych

NFS
This is an oil painting on board that I did several years ago. I
know that the pose is a bit strange, but I love the "arabesque"
created by her holding her arms up in the air like this. I was
happy with the iridescent quality of the turquoise fabric and
leaves in the side panels. There were supposed to be gold-leafed
spacers between the three panels, but the gallery owner who sold
the piece never got around to framing it that way, unfortunately.

Thanks for visiting today. My arm is healing, and I hope to be able
to begin doing some painting by the end of next week. Thanks to
all of you who have written in with comments of concern. I truly
appreciate that.

Lesli Modeling in Class

24" x 14", Essence on Canson, SOLD

I really was pleased with the colors in this
piece, particularly considering that I did
it from a black and white photo that I had
taken of the model after class. I find that
that is a good exercise. It frees you to be
more imaginative with "skin color".

Now, how about Bonnard......see any

"skin color" there? Then again, perhaps

he thought he was painting skin colors.

We'll never know, but whatever it was,

it certainly was sublime, and we are

luckier for it.

Back View Sketch of Seated Model in Drypoint

3 1/2" x 5", Drypoint Etching Bid Here

I didn't have much time to work today, so

I drew and printed this sketch from a photo

that I had taken of my favorite model, Sharon,

a few years ago.

I used a zinc plate, so there was some nice

plate tone, and I was pleased with the line

quality and suggestion of darkness in the

background.

Thanks for visiting today.

Oil Sketch of Lesli Posing

Oil on Gesso- and Oil-Primed Rag Board, 9" x12",

SOLD

This was a really fast sketch, and it looks like it.

I did this from a photograph - not from life. I enjoy

doing that, although I always wish I had a model in

front of me. Unfortunately, my studio is too tiny to

accomodate one, so the only time I get a chance to

work from life is when I am teaching, or if I go to an

open life class (which I should do more often...).

If only there were a pill you could take that would

cause you to never have to sleep - I'd be first in

line.

Thanks for visiting today.

Sharon Posing Seated on a Stool

Sanguine Conte Pencil on Blue Canson Laid

Paper, 8" x 11", $80.00 Bid Here

This drawing was done as a demonstration in a

figure class. It was meant to show the use of

sanguine (red) conte chalk or pencil for linear and

tonal work, and then the addition of white as

highlighting of highly illuminated areas. It is a classical

drawing technique. The demonstration part of it

explains the unfinished hands and feet, which I actually

like. It leaves something to the imagination.

Completely finished classically-rendered figures

are not something that appeal to me tremendously, but I

do love to draw!

Thanks for visiting today.

Essence Drawing of Sharon Posing

Essence on Laid Paper, 7" x 9", $100.00 SOLD

This is another painted drawing done in the

essence technique that I've talked about in

previous posts. I wasn't crazy about the color in

this one, but I do love the pose, light, and linear

work. The paint goes on the laid paper (Ingres

paper in this case) just beautifully once the oil has

been leached out of it, and of course it dries with

no ugly oil stains around it. I love this technique!

It is great for quick sketching of the model. I will

be offering a workshop in this at The Art League

School in Alexandria, VA next School year, and

will also ge using the technique this quarter in

my figure class.

Back Pose of Nude Female Posing in Life Class

Oil on gessoed linen canas, 12" x 16" $100.00

SOLD

This figure sketch was done in a combination of

three colors of paint that worked remarkably well

for the skin tones of this model: Van Dyke Brown,

Burnt Umber, and Winsor Newton Naples Yellow.

I stress Winsor Newton Naples Yellow, because I

feel that it is one of the few companies that manu-

factures a true Naples Yellow color. Also, notice

this is painted on a gessoed linen that has first been

toned with gray. That is one of the reasons that it

works so well.

Gray tends to take on the complement

of whatever color is placed against it. It's called

"optical grays", and in this case, it's picking up the

orange that is suggested by the mixture of the burnt

umber (a very orangey brown) and the Naples Yellow.

The medium that I used was Liquin. I also "oiled up" my

canvas (put an extremely thin layer of Liquin on the

surface) before I started painting, to make the paint

glide while I was sketching. Because Liquin dries com-

pletely in 24 hours, you don't have to worry about the

"fat over lean" rule. I know this is true. I've been doing

it for 30 years. This kind of painting is really fun.

Now I could use this painting for a grisaille underpainting

if I want, and go over it with transparent and opaque color, or,

I could just leave it as is. Painting is great, isn't it?

Thanks for visiting today.

Sharon in a Reclining Pose in Class

Oil on Gessoed Rag Board, 6" x 8 1/4" $150.00

SOLD

I painted this sketch in homage to my favorite

model, Sharon, because she posed for my class

today. She never fails to inspire me, even though

she has been modeling for me, and for my classes,

for almost fifteen years. She just knows what to

do, modelling-wise, and her wistful and witty

Irish personality (her father was from the Old

Country) permeates the room when she is in

it. Her hair is red now, but for the sake of the

color harmonies of this piece, it isn't.

I enjoyed myself doing this, even though

I had to teach today and didn't have much

time left to do it. It isn't perfect, but I'm

pretty happy with it.