by Michael Hanrahan

Thanks for posting this Michael. Again it is well painted. Because it is , well painted it comes over as a “ painting” not a piece of erotica, though i suppose some people may interpret it differently. Sometimes pictures are posted here on the gallery and some of them leave a nasty taste . I enjoy life drawing and akways have , i dont enjoy smutt . This is lovely.

Thankyou so very much sylvia thats a very generous comment and youve got a great understanding of what i tried to do with this picture.

You're absolutely right Sylvia, this is a marvelous work of art!

Thankyou Bonny thats very kind. My intention really was to represent maternity and fecundity. The ability of woman to give birth and all the mystery of creation which fecundity implies. As an obvious solution to representing this miraculous action of child bearing i emphasised the womans breasts as the bearers of sustenance for children. This is no erotic image at all but some people may see it as just that.

Another meaning of the picture is the special power that women have over men in that not only do women have breasts and men do not but also hints at the sexual power that women have over men. It also hints at the old saying of women having nothing which alludes to the absence of a male sexual organ. I therefore emphasised the breasts as a further implication as if to say men have nothing. Its quite complex when i think about it but all these things i think about when i paint these kind of female forms.

The way ive painted it actually owes most to michelangelo. This may not be at first apparent but i tried to model the figure in a sculptural fashion with the intention of trying to recall the techniques michelangelo used in the sistine chapel.

The fullness and roundness of motherhood is quite striking, actually, which accounts for the size of this woman's breasts. There are definite sexual overtones that act as an introduction to potential control, but it's not overtly erotic, more a statement of femininity and form. The form IS exaggerated, but deliberately so, and I can't help wondering if a suitable title might take the viewer into the right territory. I like the "age" of the paint. Nevertheless, there are two sides to this piece, and that is a major strength IMHO. There are hints of the renaissance, so your attempt at recreating the Michelangelo experience is more than interesting. It even has that fresco look, where pigment is applied to wet plaster. Clever work.

Thankyou for your comment and insights brian. Much appreciated.

I agree with Sylvia and Brian. Even if you hadn't explained your motivation, it is evident that there is more behind it than the 'obvious' by the way it has been painted.

Thankyou Gudrun im glad the picture is being appreciated and understood.

Incidently the aged look of this picture was not intentional. I had a shortage of funds and was forced to use a second hand canvas if you know what i mean. What lies beneath the figure are several landscapes painted at different times and unfortunately i used quite excessive impasto on them. I tried with all my might to cover up the signs of previous use with layer after layer of gesso but the effort was insubstantial.

All the best artists reuse sad canvases Michael. Look at the lovely way this has worked, Often unintended and interesting effects materialize. Thank you for looking and commenting on my gallery 🙂

Thankyou sylvia thats such a lovely comment. I still prefer to work with virgin canvases at least when i paint portraits though. A landscape is more forgiving of all the blemishes visible when it is a used canvas but it is true i do prefer women at least with real bodies with lots of imperfections if im alright in saying that. I know that rembrandt himself liked to show the imperfections of humanity which is ofcourse one of the things which made him so great.

I think that painting over previous impasto has enhanced to overall feel of this painting.