About painting Archives - Page 10 of 21

26 July 2015

Why I love impressionism?

I’m not a psychologist. I feel things and I think things in my simple way, and for convenience I assume that in this respect I am representative of a part of humanity. I asked myself: Why do I, and many others, love impressionist art?

Look closely at this picture and realize that, when you can see the two images separately you feel a kind of pleasure. At least I do. It’s similar when I find the solution to a cryptogram or a word puzzle. Recently I read this in an article about perception: “Studies have shown that when people struggle to find familiar shapes and are successful, they rate the work as “powerful”. Brain scans show very active neural activity as they struggle with the work. The brain sees the work as a puzzle and is pleased when it finds a solution”.

Often I have asked myself why I am indifferent to photorealism. In my opinion, part of the answer lies in the absence of the fun of the “aha” experience as described above. My common sense says: Everything is already to be seen and there is no challenge whatever for my brains. Therefore I suppose, I sometimes find photorealism boring.

Cheap mother wit? I don’t know, I am not a psychologist.

12 July 2015

Painting a portrait in watercolour

“If you are self-employed, do you need a lot of self-discipline?” someone asked me a long time ago. “Of course!” was my answer, “because you need to know when to stop.” Unless you pay attention, you find yourself day and night behind the easel. I have had to think of that now I am seized with “watercolour fever”.

Two weeks ago I wrote you about a commission in watercolour. I finished the job but I could not shake myself free of watercolours as they captivated me. I attacked (after Van Gogh) a number of portraits in this beautiful technique. The working method in watercolour is opposed to that of oil. In oil you immediately start with the darkest parts, then the half tones and finally the lights. On the contrary, in watercolour you start with the light areas, (saving the high lights). Then the halftones and finally the darkest parts.

Already people have asked me for a tutorial and I have put it on the agenda for next year. Next post will be on the preparations for a watercolour portrait.

The colours on my palette:

Cadmium Lemon Yellow
Cadmium Red Light
Yellow Ochre
Raw Sienna
Alizarine Crimson
Phtalo Blue
Cerulean Blue
Sap Green
Hookers Green

I prefer to work on Arches France, Bockingford or Fabriano paper.

2 July 2015

Portrait commission in watercolour

Painting a portrait in watercolour. — Working on a commissioned portrait. Watercolour.

It’s been a long time since I made a commissioned portrait in watercolour. The technique is so different from oils that I need to change my mind substantially. I love this technique but I do it too little. So, today one of my good intentions: at least one portrait per month in watercolour. When the client gives me permission I will show you the end result.

I used watercolour: Rembrandt / Talens. Paper: Arches / France

31 May 2015

About portrait painting part 2

Today part 2 of the interview that Erica Robb made a month ago. Once again I want to explain that I have no qualms in admitting that working from photography has become an integral part of our profession. Many colleagues are secretive about this and I think that’s baloney. But… I also would encourage everyone to work from live model. That is fundamental. It creates the craft, where skills originate. And it is great fun to do!

Lingering thoughts when painting a portrait

These days I am reading the book “Man with a Blue Scarf” by Martin Gayford. It is on sitting for a portrait by Lucian Freud. Good books can take possession of your mind for days. It’s like when you spend some time in a boat and you are accustomed to the constant wobbling. Once on shore you find yourself still waddling. You must readjust. Yesterday and today I have been painting the portrait of the man in the picture above and the spirit of Lucian Freud is present at the sessions. His quotes are constantly itching in my mind.

Such as: “The longer you look at an object, the more abstract it becomes, and, ironically, the more real”.

Or: ” I paint people not because of what they are like, not exactly in spite of what they are like, but how they happen to be.

And “I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them”.

Time and again, I have to clear my mind because these lingering thoughts intervene. I must concentrate on my job, the sitter and me.

17 May 2015

Talking about portrait painting

This time only some spoken words from a short interview by Erica Robb.

Progress of the self-portrait

Three weeks ago I showed you the progress of the self-portrait. I said that in the end I was not entirely convinced by the result. Many people left a comment and a few had suggestions for adjustments. I also was asked to show the final result. Here is the outcome as it will be shipped to London next week. I actually have not done much but for me it changed substantially. The rub was in the background. My aim is always to match the subject and background in order to let them take part in one and the same atmosphere, in a believable way. In the first version there was too much blue and that was the reason there was no “palpable air” provided. What did I do in the background? With a broad brush I applied a layer of Raw sienna, extremely diluted with W & N Oil Liquin. In order to distribute it evenly I rubbed it with a cloth. Now temperature has changed and it looks better.

I also “calmed down” some brushstrokes on the left of my face, and I added a few accents in the lights and the darks.

3 May 2015

Portrait painting from live model

A quick approach wet-in-wet.

Since the beginning of this year, we meet every Tuesday afternoon in my studio to work with live models. We, that is to say, a few fellow artists and me. We start at 17:00 and usually work for two hours. In between sittings we have a short tea break. Our models are people from the neighborhood. The goal is not to create beautiful portraits but to be engaged as an athlete trains and a pianist does his exercises. See also here. And here.

26 April 2015

Pick up your brushes

If you only stay in the abstract it never happens.

Recently, when I was in London, I bought the small book “How to be an artist” by Michael Atavar. A book that develops your creativity and helps you, stage by stage, grow your own creative potential. It’s witty, written with optimistic statements such as: Failure is the best thing that can happen to you. I know that you learn more from your losses than from your victories. I always tell that to my students.

One of the first phrases is a very important one: The only way to start is to start. I hear people say, “Actually, I would also like to paint.” Avatar: If you only stay in the abstract it never happens. It’s that simple. Pick up your brushes and go to work! The fear of beginning is bigger than the actuality of doing.

18 April 2015

Self-portrait, the magic is gone?

Do not think I know it all. Like others, I have doubts sometimes. This week I’m working on a self-portrait for an exhibition in the gallery in London. I showed two images of the progress on Facebook and have never had so many likes.

A painting that is half finished is something magical. It has the excitement of the promise and the attractive dynamics of abstraction. Once finished, sometimes it does not quite accord to my high expectations. From experience I know this phenomenon, however, it takes me by surprise. So as now with this painting, it is completed but not finished. How do I proceed? The big question for this week. See also the finished version here.