Progress

The early stages of the portrait of belly dancer Rachel Brice expressed an energy and spontaneity that I did not want to risk losing. After allowing the under painting to dry for a week, I liked the blue color of her skin and had no desire to begin the layers of glazing. My curiosity won out and I had to see what would happen when I began to apply more color. Besides, I was rather tired of mixing greens for the landscapes I have been working on. Getting back to the movements of a dancing body was a welcome change.

Pushing a painting further challenges my ability to manipulate color and brushstrokes and to correct the drawing with simplicity in mind. Pushing a painting to another level also tests my intuitive instincts to know when to stop, to know when a painting has made a statement that engages the viewer to keep the communication going. If the painting has the last word, it has reached the point of boredom. The viewer will move on with no intention of returning to finish the conversation.

At this point, I think the painting will require at least two more layers of glazes.

Image: Portrait of Rachel Brice
Oil on wood panel 10 1/2" x 14"

Link to page on website featuring progress of portrait paintings

Underpaintings of Figures

The benefits of doing an underpainting continue to delight me. I find it easier to correct drawing and test values. I have more patience, correcting the drawing as many times as necessary. Trees are much more forgiving than faces. The technique of glazing multiple layers of paint over the underpainting requires weeks, perhaps months to complete since each layer must dry completely before applying the next layer of glaze. What is the sense in spending weeks applying glazes over a poor drawing?

The colors are so extreme that the canvas begins to take on a life of its own from the very first few brush strokes. A conversation begins almost immediately and the dialogue between the canvas and the right side of my brain is absolutely entertaining. I am amused that I feel as carefree painting this way in oils as I do splashing, splattering and pouring watercolor paint. For the past several years I've been trying to figure out how to thin oils so that I can manipulate them like watercolor. I thought I needed to splash, splatter and pour to get the sense of depth and motion I want. It is absurd to me that the technique of the old masters has given me the freedom I was searching for. It is difficult at this stage to imagine what the paintings will look like with five or six layers of glaze.

Image: Rachel Brice, Tribal Fusion Belly Dance Performer

Link to page on website featuring progress of portrait paintings.