Portraits and landscapes show

portraits and landscapes Ben lustenhouwer framing my paintings

Once back, safe and sound from my portrait painting workshops in France, I started the preparations for my show “portraits and landscapes” here in the village, in August. The titel will be: “Portraits of Chelva”. Landscapes and Plain-air paintings of the Chelva surroundings. Also a number of portraits of local people, from our weekly live-model sessions in my studio. I brought some 40 paintings to the frame maker. Continue reading “Portraits and landscapes show”

Me as a portrait painter?

Me as a portrait painter?

Of course, like every child, I was asked sometimes “what do you want to be when you grow up”? Did I ask myself the question: Me as a portrait painter?

But what is a portrait painter? the English Dictionary says: an artist who paints portraits


Drawing as a little child?

Sometimes I visit websites from other portrait artists and read the information they give about themselves. Often like: “I was already drawing as a little child, or I was born with brushes in my hand”. That annoys me and I do not know exactly why. Is it that difficult to write something more original?

Continue reading “Me as a portrait painter?”

Values in portrait painting

Values make the portrait, not the colour.

Values in portrait painting refer to the relation of lights and darks. This contrast is more important than the colour contrast. As is is actually in every painting.

Hence, in portrait painting it is really fundamental to pay attention to this mutual relation.

It is a challenge to learn to see and use the value contrasts. Ask yourself always which tone is lighter or darker than the surrounding tonal values.

One of the easy-to-use tools is squint!

By almost closing your eyes a large part of the colour disappears and the light-dark contrast remains to be judged.

It is the cornerstone to paint a good portrait. Consequently, the importance of good shadows is consistent. If there is hardly any shadow on the face, like in frontal lighting, the resemblance must be made out of subtle colour changes. That is more difficult than with distinct shadows.

Continue reading “Values in portrait painting”

Portrait painting from observation

Despite of the fact that I often do portrait painting from photography, I really must emphasize again, that portrait painting from observation is important. Study as much as you can from a life model sitting in front of you.

Training your drawing skills is fundamental. Accompanying a study I made last Tuesday night. I used Terra Rosa (Winsor & Newton) mixed with a little bit of Burnt Umber (Rembrandt Talens.)

Continue reading “Portrait painting from observation”

Oil painting technique.

oil painting technique
Oil painting technique. Acueducto romano . Chelva, Spain.
Acueducto romano. Chelva, Spain.

This post is about brushes for oil painting technique. As you may have noticed, recently I was able to dedicate more attention to landscape painting. It took a long time; I was too busy with my portrait commissions. The surroundings of the town of Chelva, where we live, are beautiful and very picturesque. There are countless places asking to be painted. And that is what I do.  Continue reading “Oil painting technique.”

A happy portrait.

Portrait commissions from the old days

During my whole long career, I never understood why a painted portrait should not show cheerfulness. What is wrong with a  happy portrait?

Often heard reactions “A joyous portrait will be boring in the long run” or “Do not show teeth because you than go back on the fact that you worked from photography”. Why not portray someone, who is feeling good? Why not look for that split second that the sitter looks fine? Continue reading “A happy portrait.”