4 x 4"oil on masonite
sold
After I had finished this painting, my guy, my best critic, commented it had a Lucian Freud feel to it - which made me beam with pride. Freud is the master of figurative painting, in my opinion - and a huge influence on my desire to paint with oils and understand the complex colors of skin tones.
My favorite accomplishment with painting seems to be how I handled the edges. It's usually what makes or breaks the overall finished piece - and it can happen in the last few strokes. I find myself being too tight through the process most of the time, losing interest in what is before me, even after hours of work. Maybe it's the desire to finish up and move on - that's when I seem to let go and allow the unpredictable to happen - let the paint move where it wants to. If it was early on that my edges were wavy and passing in and out of the main subject, I'd probably work on tidying it up. Close to the end, I'm inclined to leave it as is. And that's what I end up loving about a painting the most.
close-up of edge-melding
Anyways...... I'm back in the hut, after a nice, unplanned road trip, ready to get busy with my paints with refreshed inspiration. That is, after I get in some end-of-summer pool time. Ode to September. I thought it never would get here.
Enjoy your holiday ~
My favorite accomplishment with painting seems to be how I handled the edges. It's usually what makes or breaks the overall finished piece - and it can happen in the last few strokes. I find myself being too tight through the process most of the time, losing interest in what is before me, even after hours of work. Maybe it's the desire to finish up and move on - that's when I seem to let go and allow the unpredictable to happen - let the paint move where it wants to. If it was early on that my edges were wavy and passing in and out of the main subject, I'd probably work on tidying it up. Close to the end, I'm inclined to leave it as is. And that's what I end up loving about a painting the most.
close-up of edge-meldingLook at Carol Marine's work - which is an excellent example of not overworking the edges - melding the surrounding colors/areas with loose brush strokes. I just love that.
Anyways...... I'm back in the hut, after a nice, unplanned road trip, ready to get busy with my paints with refreshed inspiration. That is, after I get in some end-of-summer pool time. Ode to September. I thought it never would get here.
Enjoy your holiday ~
14 comments:
HI Karin. I've been wondering ,ever since I saw something in your writings about paying attention to 'the edges', just what you are talking about.
Someone advised you to pay as much attention to the edges as you do to the subject but here you are saying that you feel not paying so much attention to edges is better.
Any chance you could expand a little on the subject?
by the way..you're one of the painters I want to be when I row up
I'm trying to say this - it's easy to get particular about clean, precise edges - separating one area from another neatly. With oils, when wet, I like the passages from background to foreground. Waves, movement - not paying attention so much to blending. The hard part is knowing when to leave it alone.
I agree about Lucian Freud!
You absolutely can beam with pride. And I totally agree with what you are saying about edges. I saw the Lucian Freud exhibition in Paris recently and had a good close-up look. His depiction of flesh is indeed amazing, and you might like to know that I had a good look at his edges, and they are surprisingly sharp! His skin palette is incredible, so indicative of northern European light. I love your brighter palette, and I particularly love No 11. Thank you.
I think I kind of understand variety of edge textures, but the range of color temperatures, and intensities in the face?...... Wow! Thanks for posting the close up! It's almost like seeing the painting for real.
Good work!
Yours does have a Lucian Freud look. His paintings are so remarkable. His flesh seems so real yet he never lets you forget that it's really paint. Your painting shares that quality I think.
Thanks, by the way, for your list of blogging workshoppers!
Great work Karin. Edges are fabulous.
Well, actually Lucian Freud came immediately to my mind too, when I saw just a little icon of your painting. So good.
hi Karin, I'm really enjoying your work. The close-up of the brush-work and color choices is great. And I really connect with what you say about allowing paint to have its own agency in the process of painting. And when to leave well-enough alone, not killing off the life through over-working. So much in your blog to learn from and savor.
Karin, You are just totally amazing!!! I learn something every time I look at your blog, and wish I could study with you more. I can't wait until the May workshop in NY, but I really wish you would teach more. Atlanta maybe??? Although I understand that what you really want to do is paint. Another thing I learned from you this summer. Just do it! (apologies to NIke)
Thanks for so much inspiration. Absolutely LOVE the portraits.
Have to say I was not familiar with Freud but checked him out after your reference. Definitely see similarities. He was actually mentioned in the paper today. Jeri Hall is selling a portrait he did of her when she was 7 months pregnant.
Still amazed at the beautiful portraits you are getting on such a small format.
Last week I was standing in Tate Britain with my nose up close to the museum's Lucien Freud paintings and etchings which get a room to themselves!
I know I'd like to get up close and personal with your paintings too! ;)
Your new project is being featured in "who's made a mark" on Sunday and I'm looking foreward to seeing your new work.
Thanks for the mention Katherine :)
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