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Jenny
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Message
Posted
I don't, and wouldn't, paint like this - but it's working VERY well for you (despite the painter's block interruption): I suspect that many of the portraitists of the 19th century painted in much the same way - you have probably resurrected a method with which John Singer Sargent would have been familiar, but using a different medium: such of course is the magic of acrylic - you can do anything with it.
If you're good enough, of course - one does have to add that.....
Posted
Thanks Lucy! Fingers crossed, the unveiling's probably going to be next week :)
Robert, I work in oils rather than acrylics - I just haven't been able to master that medium at all. I know that I'm probably considered a savage by some for using this method (as I may have mentioned elsewhere, at least a couple of people have described my style as 'paint by numbers' lol) but it works pretty well for me overall. I'm a bit clueless when it comes to theory; I can live with that, as long as I can achieve the desired result. I'd much rather be that way than have vast knowledge but not much ability :)
Anth.
Posted
Should have realized, Anth - and you did say you worked in oil not acrylic before, I just forgot.
Your method is quite a traditional one so you can tell that to anyone who tells you you're "painting by numbers": what they mean is, this isn't the Holy Grail of alla prima, which has been elevated over every other method of painting since the Impressionists. But Titian didn't paint alla prima either, so I should say you were in very good company.
You don't need vast knowledge to be able to paint - your method requires a little more knowledge than others, because of the layering issue; but you know what you need to know, I'm sure. And if not, ask me - I have lots of knowledge! We'll just lay that "ability" point lightly to one side....... 😄
Posted
Well, looks like I made a terrible error in sending the client a photo instead of waiting and showing her the original - she doesn't like it. I've asked her to reserve judgement until she sees the original but I've got a feeling that this one's going in the cupboard :) Just as well I'm not trying to make a living out of this!
On the 'cup half full' side - I feel that my, despite Jenny's misgivings, I've progressed in ability again by working with the different elements of this painting - the out-of-focus background, the hair, the dress. So, I'm not looking at it as a disaster but a learning experience. A six-month one which I'm not being paid for admittedly, but a learning experience nonetheless :)
Anth.
Posted
You're a lot more philosophical about this than I would be - but of course, whenever we take on commissions we're always in the client's hands. The only thing I would have done differently, particularly if I didn't know the client and had to take several months over it, would have been to send them regular photo-updates - so if they weren't going to like it, at least I'd have some idea of that before I wasted more time and paint.
It's also possible that this client just didn't have the money she thought or claimed she had, and is saying 'don't like it' because she can't afford it, but of course one can't know. Did she give any indication of why she doesn't like it? I have of course no idea what she looks like, other than from your painting .... I wonder what she was expecting. Or perhaps it just seemed like a good idea at the time; and now seems not to be.
Either way, it's very disappointing for you; I take very few commissions these days, and this experience doesn't encourage me to take on more ....