Wednesday, January 30, Miscellany 2. Another Day in the Field First, thanks to everyone who commented: to Matt Larson in the comments section, and to all those who sent an email.
I appreciate your inputespecially because, couched within your kind remarks, were all those nuanced suggestions that I shouldn't give up my day job. Below is the current state. This photo is too yellow, and a bit blurry. But it's a slice of the the situation as of studio-leaving today.
As you can see, I followed some of the suggestions. There were others I might have followed had I the skill to do what you said. One of the basic things that raised its head was the quality of the flat, even light that I wanted for the painting. Here I am with Clausen again, and many of the British naturalists of the end of the 19th century. What I sought was a dry, almost granular surface. This is very much at odds with the creamy, luscious surface of a lot of portrait painting.
Because it is out of doors, under even light, without sun, there are not strong shadows, and hence less modeling. Here's a Clausen en plein air:. Sargent painted few plein air paintings that one would call portraits, but here's one. Notice how even, and unshadowed, is the light. Jacques-Emile Blanche, the sitter, was a successful portrait painter himself. Here's an Emile Friant French, self-portrait, under flat gray light from a skylight.
A favorite of mine. I like the fellow outside on the street, craning his neck for a peek. Below is a tree drawing by Thomas Ehretsmann.
