Wednesday, January 26, 2011

"100 Faces, No. 94"

4 x 4"
oil on masonite
sold

Way back when I started the 100 Faces, I knew hair was one of my challenges - how much detail does it take to make sense. It's tempting to overwork it, but the key, I think, is to define it as much as the rest of the painting. Andrew Wyeth's portraits of Helga are a good example - those intimate, close up portraits are so beautifully rendered with tiny strokes of details in the face, the sweaters, the strands of hair - yet, in his looser 'studies' of her, it's more about the setting and the body - the hair is more an impression.

I started adding more patterns in this man's braids and realized I didn't like it. Then it would be all about the braids. If the face was done more realistically, then it would have matched the overall feel of the painting - yet I prefer, with these small, quick studies, a more painterly result.



5 comments:

Crystal Cook said...

Gosh that is just incredible. I think this is my new favorite. :)

carol morgan carmichael said...

I think this is perfect. Just love what you do with skin tones and I don't think this hair is overworked.
I have thought about you and your skill a lot the last two days as I trudged through a painting with faces. Maybe if I challenged myself like you have done it would not be as hard for me.

Cynthia k. Agathocleous said...

beautiful beautiful beautiful!

Linda Popple said...

Really beautiful!

SUZY MORGAN said...

This is just is O-V-E-R T-H-E T-O-P

Perfect.