tag:blogger.com,1999:blog-99018142024-03-05T20:07:36.550-08:00KathrynLawkathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comBlogger416125tag:blogger.com,1999:blog-9901814.post-6992827091711777012022-04-06T11:03:00.001-07:002022-04-06T11:03:22.545-07:00Art Around the Corner<p>While I was working on the Goya in the last post, the folks in charge of NGA's Art Around the Corner program came by to ask if I might be interested in doing some sessions with the students in the January session. I was thrilled to accept, because this program is an opportunity to make a real difference in some kids' lives through art. The NGA partners with DC Public Schools to bring 4th and 5th graders into the Gallery several times a year, not just to look at the art, but to participate in artmaking as they learn to see the world through artists' eyes. It is one of the most gratifying experiences I have had as a painter. To learn more about this program and to see it in action, here's a video made in 2011 which shows how it happens: <a href="https://www.nga.gov/audio-video/video/art-around-the-corner.html">https://www.nga.gov/audio-video/video/art-around-the-corner.html</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Tat0J67EAIDLQBKkFB5x5BKFchZfcmbQEeqtKEX1duVXhnq2kV0r6-zkG0JCEZzHhB_14bxi6T6ESgci95I-UH_VlnTZkDfn7UyuXyivlADuWYitQF4tOMHw5PHhwWz_OX3YegdYhtQ8leAuYzoVsMzlCcgDclUtCwQI3GmmwhpmTHc0eg/s1200/LowRes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="921" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Tat0J67EAIDLQBKkFB5x5BKFchZfcmbQEeqtKEX1duVXhnq2kV0r6-zkG0JCEZzHhB_14bxi6T6ESgci95I-UH_VlnTZkDfn7UyuXyivlADuWYitQF4tOMHw5PHhwWz_OX3YegdYhtQ8leAuYzoVsMzlCcgDclUtCwQI3GmmwhpmTHc0eg/w154-h200/LowRes.jpg" width="154" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">The project this time was portraiture, and the organizers chose this fantastic Van Gogh portrait as the point of departure. My role was to discuss the artist with the kids, give them a chance to talk about what they saw in the painting, and to demonstrate for them how a copyist works to re-create a painting in real time. I worked with several groups over the course of two days, and in addition to Vincent, we talked about other portraitists both within the NGA and without. I discussed Amy Sherald's incredible portrait of Michelle Obama which hangs at the Smithsonian NPG. Many of them had seen it, and all of them lit up when shown an image of that painting. This session happened during the aftermath of George Floyd's murder. One of Amy Sherald's driving principles is that skin color is what we make of it. Her portraits have skin tones greyed out, making the point that we are all the same color, just different shades of light and dark. </span></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBjwKRwfzxEjyGoLZAY3DnywGXyhdawqPkFH0KF6BB-Qf_G3WCdQUmGirl2K2x5oqA_Ogq9oxDi9CER56kMge2tT7kQd0h9FaNL8U-ZvAZH9BVFpJ3pJpbY-l1FV3BytANhm-BVDAhuU18wHWyjiuCvuYByUbnF_Xv_jsQoTKWx-AofRfXw/s2500/Michelle-Obama.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1875" data-original-width="2500" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBjwKRwfzxEjyGoLZAY3DnywGXyhdawqPkFH0KF6BB-Qf_G3WCdQUmGirl2K2x5oqA_Ogq9oxDi9CER56kMge2tT7kQd0h9FaNL8U-ZvAZH9BVFpJ3pJpbY-l1FV3BytANhm-BVDAhuU18wHWyjiuCvuYByUbnF_Xv_jsQoTKWx-AofRfXw/w253-h190/Michelle-Obama.jpg" width="253" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">As for Vincent, he's green--and the kids took that idea and ran with it. I wish I had images of their work, which truly turned out far superior to my own. Below is my setup for the first session and near completion on the second day. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLuB_QhQKZ6gKSw--7al0wT8RRF77p5vek_0kvWy1IytTaNE6Q03pJNC6bKojIgKh-rC_InjpDZgg0Ev0fyYulXdV7JePmXQ9uk43-kQgpIPbLHOgwB8Lpin-oG_W4bX_CCDLjOeNBDKwiGjmcH4AA2C7UFvKNW7Eyz14wznn4RO6Wq0S9w/s4096/IMG_20200122_135222024.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4096" data-original-width="3072" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLuB_QhQKZ6gKSw--7al0wT8RRF77p5vek_0kvWy1IytTaNE6Q03pJNC6bKojIgKh-rC_InjpDZgg0Ev0fyYulXdV7JePmXQ9uk43-kQgpIPbLHOgwB8Lpin-oG_W4bX_CCDLjOeNBDKwiGjmcH4AA2C7UFvKNW7Eyz14wznn4RO6Wq0S9w/w224-h299/IMG_20200122_135222024.jpg" width="224" /> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggQ5o2k1i0y909XpdlSFvOl0pZdzhMeH4I4UAsGPcjJWhz6Jow_W5h8cmU48iiEbuFQsuvxmiYsWz-EJgYwzt6vT9DBvH_kIsRhCkO2XSYZoML-9B1V2n2ZvDhWVyYKziUNl0VNW3jcqWn_xVNHYIs-3y3nUWVGjKnIVOGJb5Vj6WLQYQgXw/s4096/IMG_20200206_115012181.jpg" imageanchor="1" style="clear: right; display: inline !important; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3072" data-original-width="4096" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggQ5o2k1i0y909XpdlSFvOl0pZdzhMeH4I4UAsGPcjJWhz6Jow_W5h8cmU48iiEbuFQsuvxmiYsWz-EJgYwzt6vT9DBvH_kIsRhCkO2XSYZoML-9B1V2n2ZvDhWVyYKziUNl0VNW3jcqWn_xVNHYIs-3y3nUWVGjKnIVOGJb5Vj6WLQYQgXw/w397-h298/IMG_20200206_115012181.jpg" width="397" /></a><br /><div style="text-align: left;"><br /></div></div><div class="separator" style="clear: both; text-align: left;">This was February 2020. I was already seeing more international visitors wearing masks, and was just starting to wonder how concerned I should be about Covid, since as a Copyist, I was constantly engaged with people in the gallery, having animated discussions about my work, the art and the artists--my favorite part of the job. Then a month later, official lockdown began, and everything closed down. Even now I don't know if this program was reinstated after things opened up again. My husband and I left DC after a full year of hard isolation, just as soon as we were vaccinated. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">I hope that this won't turn out to have been the last time I set foot in the National Gallery, or the last time I paint there. It is the last time for the foreseeable future. Here's a photo from happier times. </div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">Photo credit:</span><span style="text-align: left;"> </span><a href="https://www.sjcportraits.com/" rel="nofollow" style="text-align: left;" target="_blank">Sandra J Cohen</a><span style="text-align: left;"> </span><span style="text-align: left;">(a great portraitist)</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoK2lTwKTrWVvb6gZQeS7Fr_aWsw7_7H7KDul2EqmeJZp17f9fVblY0XCoTzTqsg1AnWPrhuQdRiKvD8G6J10gRq0cyemKTEoO86MGZ2WcM2mxL7LcW9x2M22QVt-3CCt0WP4KSurnRCxSmDdAhBq2U8Gq2i4Gdq6adWVl5cV15GSOgCncVQ/s4032/unnamed.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoK2lTwKTrWVvb6gZQeS7Fr_aWsw7_7H7KDul2EqmeJZp17f9fVblY0XCoTzTqsg1AnWPrhuQdRiKvD8G6J10gRq0cyemKTEoO86MGZ2WcM2mxL7LcW9x2M22QVt-3CCt0WP4KSurnRCxSmDdAhBq2U8Gq2i4Gdq6adWVl5cV15GSOgCncVQ/s320/unnamed.jpg" width="240" /></a></div><p><br /></p>kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-22123278553109266952022-01-24T11:40:00.001-08:002022-01-24T11:40:43.587-08:00Goya, Phillips, Cezanne<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhszmwPZDMTSPLMkdwZEmt_GtQMrYOUDkjd2vdtawwHA_Dvqtk8mW5dTiCa8036nmnYvitFebrUxcQOGgeeYKez7H5GzWX6TBnLjaUyxPOdzzd-N6gbnHw04n601KO3LCmoq-s0rPLf04Q25611gVefgux-BMzyNC_PrYtjktRsANMTEacD5w=s4096" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4096" data-original-width="3072" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhszmwPZDMTSPLMkdwZEmt_GtQMrYOUDkjd2vdtawwHA_Dvqtk8mW5dTiCa8036nmnYvitFebrUxcQOGgeeYKez7H5GzWX6TBnLjaUyxPOdzzd-N6gbnHw04n601KO3LCmoq-s0rPLf04Q25611gVefgux-BMzyNC_PrYtjktRsANMTEacD5w=w480-h640" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">This is Goya's portrait of Bartolome Sureda y Miserol, from 1803-4. My version is near completion here, I did change the aspect ratio just a bit. The subject was a friend of Goya's, and was quite an <a href="https://www.nga.gov/collection/art-object-page.985.html#overview" target="_blank">ambitious and interesting person</a>. This was the penultimate painting I did as a copyist, finished December 2019. While working on this, I was asked to do a commission of a painting attributed to John Phillips, with only a poor-resolution photo for reference. The painting (on linen panel) turned out well, and the clients became good friends. Completed just before lockdown began in 2020.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEioZOiElULgww_K9ylfsn_wffHIE99raIEALsNQH7PpaUdSUEBxcSUwiq0nvYjfBsI3TMxet5OqMgt8nPnowdATrNwg55IDKvBGRGEoeCWEsOLM4CQbi67_W8-8IqeAEKcsbrCUUvyDiWFH6rL2FaK-MORYcc54HSRgsZNe8Jk7aIVbVbJP5w=s3290" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3290" data-original-width="2712" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEioZOiElULgww_K9ylfsn_wffHIE99raIEALsNQH7PpaUdSUEBxcSUwiq0nvYjfBsI3TMxet5OqMgt8nPnowdATrNwg55IDKvBGRGEoeCWEsOLM4CQbi67_W8-8IqeAEKcsbrCUUvyDiWFH6rL2FaK-MORYcc54HSRgsZNe8Jk7aIVbVbJP5w=w264-h320" width="264" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">There was one more NGA painting that I started in January 2020, Cezanne's <a href="https://www.nga.gov/collection/art-object-page.54129.html" target="_blank">"Houses in Provence: Riaux Valley near L'Estaque"</a>. I had finished the underpainting in raw sienna, when a visitor to the NGA fell in love with it just as it was, so I happily sold it to her since I knew I needed a break. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEglTfXVmHqmqrWWUerFE1r6zP9nxMG3LCc12xs7u73b8sALPoLXC7LdALrwqdnjm3A5w2pgBXS_eqMa56Ex-IFLiqrJZDN3THons6BoBp9GbHzEJnk6mOj2KtNM2CNRWS6eOqpie-cxW14tP18CgZoRqw4Hz0jj2nriEfacY4aZVPzLfgwgpg=s3651" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3072" data-original-width="3651" height="269" src="https://blogger.googleusercontent.com/img/a/AVvXsEglTfXVmHqmqrWWUerFE1r6zP9nxMG3LCc12xs7u73b8sALPoLXC7LdALrwqdnjm3A5w2pgBXS_eqMa56Ex-IFLiqrJZDN3THons6BoBp9GbHzEJnk6mOj2KtNM2CNRWS6eOqpie-cxW14tP18CgZoRqw4Hz0jj2nriEfacY4aZVPzLfgwgpg=s320" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj6QW_k3MDqhusAYUsXeCZfQdotN2REm4zyD92m36Jzh0i9pQYIZlQuWUeTxD1cpxeOUX4S2QndU0S6MLAfFy22LsUPkavgKszyFg4jx3kKSV72VAnHL6xQxsbiWLMnrKy-KBnstDc4JQ8Q7zqxIhziDx28CFA6zcDbJCHao5iNaim7AEQhZA=s3798" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3072" data-original-width="3798" height="518" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6QW_k3MDqhusAYUsXeCZfQdotN2REm4zyD92m36Jzh0i9pQYIZlQuWUeTxD1cpxeOUX4S2QndU0S6MLAfFy22LsUPkavgKszyFg4jx3kKSV72VAnHL6xQxsbiWLMnrKy-KBnstDc4JQ8Q7zqxIhziDx28CFA6zcDbJCHao5iNaim7AEQhZA=w640-h518" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-54218090990072273102022-01-15T17:51:00.002-08:002022-01-24T13:37:44.754-08:00catching our breath<p>It's a different world than it was when I last posted here over two years ago. The pandemic started, and since I was living in DC (one of the highest rates of infection in the country); being in a high-risk group, I was in hard lockdown for over a year. My painting and teaching at the National Gallery came to a halt, along with everything else. My husband's work also ceased, and we made plans to return to Southern California as soon as we could get vaccinated and travel safely. </p><p>Now, after 8 months back in San Diego, we're still at risk despite being vaccinated and boosted, so we are adapting. I miss the work that I loved so much at the NGA: painting, interacting with visitors from all over the world, working with DC Public School Elementary students in the Art Around the Corner program, painting commissions...all gone. My brother very nearly died of Covid (pre-vaccine) but fortunately he survived. Some dear friends did not. Nearly a million people in the US have been lost to this virus. We can't long for a return to normal, because that normal is gone. It's a different world now. </p><p>For a long time, making any kind of art was out of the question. For many creatives, this has been a terrible time. I took down my website. I still have all my oil painting materials, but still can't bear to look at them. Instead, what feels hopeful is change...as in every aspect of life. I've dabbled in watercolor over the years--some attempts are posted here--but never reached the level of expression that I wanted in that medium. I always said that I have a love-hate relationship with watercolor: I love it, it hates me. That's about to change.</p><p>Now that no one's watching (since I'm not posting), I can really delve into how this medium works and try to find my voice in it. In art school, watercolor was not a medium that got any respect, so we just didn't talk about it. That's okay. Finding one's way in a medium is always personal, no matter how much instruction one receives. </p><p>As I find my way, I'll post some exercises here and share experience. First though, I'll catch up a little with some of the last work that I did at the National Gallery, just to close that out. I've documented my painting life on this blog since 2005, so I'll fill in the gap and then, move on.</p>kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-50792523699675551682019-10-25T12:57:00.000-07:002019-10-25T13:01:24.030-07:00Post EmilyLife has been quite a ride this past two months, including moving (twice) and having an up-close-and-personal encounter with an unwell wild bat which necessitated a series of post-exposure rabies vaccines. But what do we do when life happens? We keep painting.<br />
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I finished working from Portrait of My Grandmother two weeks ago, and there may be some tweaks that I'll add in the home studio but all in all, it turned out very well. This is 36" x 24", and I will post some progress shots below.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8vmq8ykCvWjLsij1_FBCQrLwb0z7LaFLJHPGbyGl53N0jln1Sjb8pTK2e9A0ZvAvbOm2Y4O5UbNqbWDR074dd1JFo0BZkxH98-IoVfX_7eTRIx3_VZLddz8d2f_H2vBvmYvcO/s1600/EmilyFinal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1039" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8vmq8ykCvWjLsij1_FBCQrLwb0z7LaFLJHPGbyGl53N0jln1Sjb8pTK2e9A0ZvAvbOm2Y4O5UbNqbWDR074dd1JFo0BZkxH98-IoVfX_7eTRIx3_VZLddz8d2f_H2vBvmYvcO/s640/EmilyFinal.jpg" width="414" /></a></div>
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Can you tell that my favorite element in this painting is her hands? They almost painted themselves. Here is a look back at from the start.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUVVzjCcmV4hFT9Cbyw8fPpZ4OokH0I-h-Y5TsSkbtTb324a5on-piq1waKpII-eDBEb9IJUjpdmZgcSG8oWu-zpjzzRZiz1x3gPKof2OSI2y65epOBu-aC3b6pHS2pbyiQKw/s1600/EmilyStart.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1018" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUVVzjCcmV4hFT9Cbyw8fPpZ4OokH0I-h-Y5TsSkbtTb324a5on-piq1waKpII-eDBEb9IJUjpdmZgcSG8oWu-zpjzzRZiz1x3gPKof2OSI2y65epOBu-aC3b6pHS2pbyiQKw/s320/EmilyStart.jpg" width="203" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGTWco_KHBo9gaZ5FcELrPR-cIxeo2_l2fCRktHcdg8mCfeX5J5hb6zutm6U7J_olaoA7gPRtXLypQQWADOOU15c3Wn98mpAbSstQ4s2NkKolzonY2SHwxZnunlEI0KqxAbcRo/s1600/EmilyProgress1a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1066" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGTWco_KHBo9gaZ5FcELrPR-cIxeo2_l2fCRktHcdg8mCfeX5J5hb6zutm6U7J_olaoA7gPRtXLypQQWADOOU15c3Wn98mpAbSstQ4s2NkKolzonY2SHwxZnunlEI0KqxAbcRo/s320/EmilyProgress1a.jpg" width="213" /></a></div>
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Motley's painting is loaded with texture. He painted it on a rough canvas laundry bag, as mentioned in the previous post, and he worked in thick layers of paint over that rough support. There are places where his brush visibly skipped over wrinkles that were already forming, before the painting was even done. To suggest that texture on my comparatively smooth canvas, I used thick random brushstrokes and layers. In the first session, I tried to get the drawing and composition more or less there, and laid on a lot of paint. From there it was mainly corrections and refinement.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs1_5uUqZHKoXtyV90ues_XrovqZv4Di9WfHhMUnE3XqqUkWtxQBIBgVrUrEXyHOGNAuZQB_cilxm1M8xhGv1N-W-yWMieq3031q24Fp56np6Zxz1VhecSqJ2MHIogrug0HFiz/s1600/EmilyProgress2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1373" data-original-width="1600" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs1_5uUqZHKoXtyV90ues_XrovqZv4Di9WfHhMUnE3XqqUkWtxQBIBgVrUrEXyHOGNAuZQB_cilxm1M8xhGv1N-W-yWMieq3031q24Fp56np6Zxz1VhecSqJ2MHIogrug0HFiz/s320/EmilyProgress2.jpg" width="320" /></a></div>
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I don't know if Motley used an underpainting, we don't know much about his process especially for these early paintings that weren't his mature style. I used burnt sienna for the wash and drawing, and then fought it the rest of the way to get her coloring accurate.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrWvqmdzv1qNnRIgXbDKLAFKHg0h_rbT8l6kPiTrRDc3m_QzJBO-xxum6FIyAivWj_EQJ3HDL0y59Nahs6u5xygD1DaWTMbETJryr0sQ9DtGaxZOmFK4VMEHJXhkijMYEuVaGQ/s1600/EmilyProgress3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1443" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrWvqmdzv1qNnRIgXbDKLAFKHg0h_rbT8l6kPiTrRDc3m_QzJBO-xxum6FIyAivWj_EQJ3HDL0y59Nahs6u5xygD1DaWTMbETJryr0sQ9DtGaxZOmFK4VMEHJXhkijMYEuVaGQ/s320/EmilyProgress3.jpg" width="288" /></a></div>
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I don't normally paint in a "serial" fashion, meaning I normally work up the whole surface of the canvas as a unit, not one area and then another area. Motley's painting shows dark outlines around the hands, as if he drew their placement and then painted them separately later. This painting was almost certainly done from life, and an 80-year-old woman would not be able to hold a pose for a very long time...so it would make sense for him to work the more challenging sections (face and hands) to completion one at a time. That was how I painted her hands. Established the shape and then in one session, painted them in.</div>
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Her face is a portrait of character, dignity, life history. It was by far the most challenging part of my painting. I kept putting emotions there which were mine, not hers. She's not sad in Motley's painting, but I kept finding sadness in mine. Portrait painters connect with subjects and ideally, paint the essence of the sitter. That's where being a copyist is different. Motley painted Emily with his own lifetime knowledge of her. In the end, his is a painting of Emily. Mine will always be a painting of a painting. Over the ten weeks that I worked on this, I met a lot of sincerely interested visitors and I got to share Emily's story with countless people. I wanted to do her justice, and hope that I did. </div>
kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-11544795011847543632019-08-21T09:24:00.001-07:002019-10-04T08:42:35.227-07:00EmilyThe Kenyon Cox piece is finished, I'll update the image in the previous post. The next project will be this glorious painting by Archibald Motley Jr., a work which was just acquired by the National Gallery from the artist's family late last year:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZ6Lm9lL5KvmeC67Xj8N2lMur2u0H0eGOUNcthMxWuzgfJnd7ovHBzV4FVsaXYxMl4zzdHWOGAOmjKMCRuis49KuXI2ppDTSc-8DQ1Lm6JMivXQ7JRZdEIq6r3n04PjE0BsnT/s1600/large_portraitofgrandmother_resized.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZ6Lm9lL5KvmeC67Xj8N2lMur2u0H0eGOUNcthMxWuzgfJnd7ovHBzV4FVsaXYxMl4zzdHWOGAOmjKMCRuis49KuXI2ppDTSc-8DQ1Lm6JMivXQ7JRZdEIq6r3n04PjE0BsnT/s640/large_portraitofgrandmother_resized.jpg" width="400" /></a></div>
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The lady whose portrait this is, Emily Motley, is the artist's grandmother. She was born into slavery in 1842, and freed when she was about 20. Married a Native American who had also been a slave, and they raised a beautiful, successful family. Archibald Motley Jr. graduated from the Art Institute in Chicago in 1918 and struggled to succeed as a painter, so he worked as a porter on the Wolverine, a train from Chicago to Detroit. His father was also a porter on that train, one of the best jobs available to African Americans at that time. Motley could not afford to buy quality art supplies, so he used a canvas laundry bag from the train as a support for this painting. This explains the extraordinary texture, which I'll talk more about as I work. He struggled for a long time to finally become successful as a modernist, totally different style, but his portrait and the other one of his grandmother are his finest work IMO and they were his favorite paintings. She was about 80 when this was painted in 1922.<br />
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I highly recommend the <a href="https://www.nga.gov/collection/art-object-page.206066.html#relatedpages">supporting material on the NGA website</a>, with videos that really expand on one's understanding of the importance of this work. Curator Nancy Anderson's talk is absolutely wonderful, providing essential context and enlightenment about this work.<br />
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The other painting of Emily is the richly symbolic "Mending Socks", 1924, which is in the collection of the Ackland Museum in Chapel Hill NC. I had the opportunity last month to view that work and the curatorial file, which is filled with articles, interviews and documentation relating to both these works. I'll have more to say as my work progresses.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7EM9w-cAHe3FC7pEDTaxLCu3fR59lzNrOEdwpLhZlVyCdI9rAqtWil-RD2SYx8g9UiFwlDBBxksuPvD4ofm8pP_WC8GZqSTjXyUpdgsObB38r6cTPyGEo7My0Vyopwmvcxlj0/s1600/MendingSocks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7EM9w-cAHe3FC7pEDTaxLCu3fR59lzNrOEdwpLhZlVyCdI9rAqtWil-RD2SYx8g9UiFwlDBBxksuPvD4ofm8pP_WC8GZqSTjXyUpdgsObB38r6cTPyGEo7My0Vyopwmvcxlj0/s640/MendingSocks.jpg" width="640" /></a></div>
<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-34907131477236616662019-06-29T14:49:00.000-07:002019-06-30T08:36:22.371-07:00Progress, and old businessMaking good progress on Kenyon Cox, might be completed in one more session. Still a lot to do, but it's coming together well.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8856bSC2p9Y2xeWeYSvT51Koh-l7n3CRHrUxcWz7SkeoH-fACX5RxoSkkOci8Gv08IUVhXSmqoDziBUUs4uVrKQZuMeski7ptvzQKJrWjn0emPmylL_mEZzfcb2LgkXh8b4Gp/s1600/Cox3_20190627_145403302.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1331" data-original-width="1600" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8856bSC2p9Y2xeWeYSvT51Koh-l7n3CRHrUxcWz7SkeoH-fACX5RxoSkkOci8Gv08IUVhXSmqoDziBUUs4uVrKQZuMeski7ptvzQKJrWjn0emPmylL_mEZzfcb2LgkXh8b4Gp/s400/Cox3_20190627_145403302.jpg" width="400" /></a></div>
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The main reason for painting from master works is to learn, and (if it's not a commission), there's a point at which I've learned what this artist had to teach me, so it's okay to move on. I work quickly, a result of my plein air landscape work. More can be done in the studio later...but usually there's not much left to do. </div>
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Here are some works from last fall, before the layoff. First up, <a href="https://www.nga.gov/collection/art-object-page.53124.html">Chardin's Still Life with White Mug</a>:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN6l0LRDCpoG6wIX0VL7u314VIb7U4IXZuiG7HV4C212hB9Kzcrz-pKA5MyHsgm7_4J5vzM5MPEdEqsKsRVOACoETTWfAWXwx1mj5zH-4AKXLLtxLOtXxFr-O0CrMhxGj-KeX_/s1600/ChardinSetup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1482" data-original-width="1600" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN6l0LRDCpoG6wIX0VL7u314VIb7U4IXZuiG7HV4C212hB9Kzcrz-pKA5MyHsgm7_4J5vzM5MPEdEqsKsRVOACoETTWfAWXwx1mj5zH-4AKXLLtxLOtXxFr-O0CrMhxGj-KeX_/s400/ChardinSetup.jpg" width="400" /></a></div>
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16" x 20" and done in one four-hour sitting. The original looked very much like it had been done that way, premier coup or alla prima, so that was my plan as well. Chardin painted this late in his career, and it's filled with confidence and bravado. He painted the one right below (Fruit, Jug, and a Glass) 50 years earlier and it has the more tentative and labored feel of a young painter with something to prove. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoHkPirnWhzgigPFd6G-AG98Fdrj83Z2TUrTJy6sEnBovXh9UBZxakVQa4gmOciC2Czqe7Re1lK5LSBdytCQJvmNXFo4JZKuL6-mAnQgWmKmLgUuUTSULjst4L9qQYrPVe1FGk/s1600/VanderNeerProgress.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1096" data-original-width="1600" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoHkPirnWhzgigPFd6G-AG98Fdrj83Z2TUrTJy6sEnBovXh9UBZxakVQa4gmOciC2Czqe7Re1lK5LSBdytCQJvmNXFo4JZKuL6-mAnQgWmKmLgUuUTSULjst4L9qQYrPVe1FGk/s400/VanderNeerProgress.jpg" width="400" /></a></div>
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This <a href="https://www.nga.gov/collection/art-object-page.71369.html">Van der Neer Moonlit Landscape</a> was an exercise in establishing nocturnal values. I wasn't concerned about the extremely fine details which are strewn throughout this painting like Easter eggs. Aert Van der Neer was known for his nocturnal landscapes during his lifetime.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxZZhqYJqtSC9ke3csC1X0CBVrPWmh96hG-WoCmhImgzqdx1tyrsv7wwdrgDzhqgy70bT73942fMC6txZPNEYfJDX-4qH6FTmjXes7oM7Hx0DB-UxGj6LfKLYjXrvUG94WF_e_/s1600/KalfDayThree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="984" data-original-width="1600" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxZZhqYJqtSC9ke3csC1X0CBVrPWmh96hG-WoCmhImgzqdx1tyrsv7wwdrgDzhqgy70bT73942fMC6txZPNEYfJDX-4qH6FTmjXes7oM7Hx0DB-UxGj6LfKLYjXrvUG94WF_e_/s400/KalfDayThree.jpg" width="400" /></a></div>
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Finally, this <a href="https://www.nga.gov/collection/art-object-page.12206.html">still life by Willem Kalf</a> was technically fascinating. This painting, like <a href="https://kathrynlaw.blogspot.com/2018/05/rembrandt-in-progress.html">so many others</a>, has had an interesting and uneasy life. They are like humans in that way: they survive some rough or unfortunate treatment and bear the scars of that, but their beauty shines through. This painting had a huge tear in it at one point, had been overcleaned and inpainted to a shocking degree, but was restored to its original, sublime beauty by the best conservators in the world: those at the NGA. I didn't quite finish this on site before my sabbatical, but it won't take much to get it there. It's a classical 17th century Dutch still life, peaceful and lovely, belying its turbulent past.</div>
<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-44105012380652898192019-06-22T07:41:00.000-07:002019-06-22T07:45:10.985-07:00Back to WorkAfter a layoff for some health issues and a digression into more drawing and watercolor, it's back to work in oil at the National Gallery. The painting I'm working from now is <a href="https://www.nga.gov/collection/art-object-page.195765.html">"Flying Shadows" by Kenyon Cox.</a> This painting was acquired as part of the merger with the Corcoran collection, so it's only been at the NGA since 2015. There isn't a high-res image of it yet on the NGA site, nor many notes about its technical and historical background, but the <a href="https://www.corcoran.org/collection/flying-shadows">Corcoran site still has an extensive entry on it</a> for the scholars among you. The life of the physical painting is always fascinating, all that it has been through to reach its present state. Just like a human, it bears the evidence of some hard times but its beauty shines through.<br />
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Here's the start of day 1 and the end of day 2:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga8ciLyWMxlbLIhYO6af8V5Mh4OQ8qyiojsa1SxT0tTTkz1y7EGSqu7iOgNIC_e5wI9PTVkcYIE0FNHrCdEKUf7qSMxZ3YVkeyVeOJ-ULe1eK5Bv_qbZCuJdYjhbQWZF7B8dTC/s1600/Cox2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1206" data-original-width="1600" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga8ciLyWMxlbLIhYO6af8V5Mh4OQ8qyiojsa1SxT0tTTkz1y7EGSqu7iOgNIC_e5wI9PTVkcYIE0FNHrCdEKUf7qSMxZ3YVkeyVeOJ-ULe1eK5Bv_qbZCuJdYjhbQWZF7B8dTC/s400/Cox2.jpg" width="400" /></a></div>
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My canvas is 20 X 24". Still a long ways to go, many corrections and layers to add.<br />
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Kenyon Cox was a very important painter, illustrator, and muralist in the Academic Classical style. He trained at PAFA and in Paris. This landscape is an early work in his oeuvre, a bit looser than his later work. He taught at the Art Students League, where he applied the ancient dictum "Nulla Dies Sine Linea"--no day without a line (of drawing), still the best advice for artists of all kinds. There are a number of his <a href="https://www.nga.gov/collection/artist-info.2453.html#works">drawings in the NGA collection</a> as well.<br />
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The painting has a buff-colored ground and no overall undertone. It seems constructed of many thin layers built up to portray the lush softness of the grassy fields and the trees. That's my strategy, to get the soft, subtle glow of gentle color coming through. The biggest challenge is to tone down my usually-brighter palette without killing it. Landscape is definitely in my comfort zone, and Kenyon Cox has a lot to say about it.kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-87743704860610454632018-07-21T13:17:00.000-07:002018-08-10T14:09:00.214-07:00Rembrandt and Vermeer, finishedThis one is done now, and I'm very happy with the result. I've also finished a Vermeer commission, and will post that below the Rembrandt.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhVXvgivI0CxKec5OtY2X3xKiCUX9v2ZHNqUCP28TQOE36x1HEH5m5c8kQLmOuTROHVJgdmiQhfObRADQ6KooyjVegKf2H84n1Zqws1Y60A6k26RyQrgndjwrZpBI-x2EVLE3E/s1600/RembrandtDoneP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1329" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhVXvgivI0CxKec5OtY2X3xKiCUX9v2ZHNqUCP28TQOE36x1HEH5m5c8kQLmOuTROHVJgdmiQhfObRADQ6KooyjVegKf2H84n1Zqws1Y60A6k26RyQrgndjwrZpBI-x2EVLE3E/s640/RembrandtDoneP.jpg" width="530" /></a></div>
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24 x 20" oil/canvas. There were issues with copying this one in person, largely due to darkening over time and glare within the gallery. The high-resolution images on the NGA.gov website were immensely helpful. In person, this is a very successful painting and has a real presence. Here are a couple detail shots. Use "open link in new tab" to see the fully enlarged image.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN9hqVjnSYi0uANKgahD1K6dTOFuFyN20fVd87oiQ8_nlUEu86X9URrBegxWikmdHyqSC66EXU36UeKnZ1NaPt4qfBEq59Q06EMHOzAbmYnbo0-UcGoKRETFNBXhlWnZv9GhjA/s1600/RembrandtDetail3-1A2000.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN9hqVjnSYi0uANKgahD1K6dTOFuFyN20fVd87oiQ8_nlUEu86X9URrBegxWikmdHyqSC66EXU36UeKnZ1NaPt4qfBEq59Q06EMHOzAbmYnbo0-UcGoKRETFNBXhlWnZv9GhjA/s320/RembrandtDetail3-1A2000.jpg" width="240" /> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCY929ttZopr8wZEGUeXgoyJNjcFpOxu4gkscBc2F5XQr6H3EddAsYgLHJNmT7MqVJK10rCYLr9Vmi1iuaTzNxNtwzINplF2W0xYmerKWvtqXaDjb4T0Yg4v0VfotQCKWhDawD/s1600/RembrandtPossible2-2Zoom2.jpg" imageanchor="1" style="clear: right; display: inline; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1336" data-original-width="1272" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCY929ttZopr8wZEGUeXgoyJNjcFpOxu4gkscBc2F5XQr6H3EddAsYgLHJNmT7MqVJK10rCYLr9Vmi1iuaTzNxNtwzINplF2W0xYmerKWvtqXaDjb4T0Yg4v0VfotQCKWhDawD/s320/RembrandtPossible2-2Zoom2.jpg" width="304" /></a></div>
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The Vermeer which was begun months ago is finished as well, I blogged about it before <a href="http://kathrynlaw.blogspot.com/2018/05/vermeer-and-duchamp.html">here</a>. The final painting and some detail shots are below.<br />
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24 x 20", oil on canvas. Source imagery thanks to the <a href="https://www.rijksmuseum.nl/en/">Rijksmuseum</a>.<br />
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Details ("open link in new tab"):<br />
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If you missed the earlier post, there is a lot of great information about the meanings of these objects <a href="http://www.essentialvermeer.com/catalogue/milkmaid.html">here</a>. The symbolism has been debated for centuries, but even just the literal meanings of these objects are fascinating. The bread basket was hung on the wall to keep the bread away from mice. The dark object above that is a framed picture. The footwarmer on the floor has been interpreted as sexual metaphor (heat under the skirt), especially given the Cupid tile next to it and her bare arm, but it was also a practical fixture in daily life.kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-19735052221576219252018-05-26T13:22:00.000-07:002018-05-26T13:25:46.225-07:00Rembrandt in ProgressThis is a lovely Rembrandt portrait at the National Gallery, and a copy was commissioned by the good people who bought my painting of the <a href="http://kathrynlaw.blogspot.com/2017/12/lievens-nearing-completion.html">Lievens Bearded Man</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSjUOnYk1r4V9r1KLFExxtUluOdWFOhIdcSIBmwOv0DoteXLx0ac8QQFKTrOrSWsMRB6LIxrSAu15I-uZQrsL5Y9WF4Lxq4DuLVuAJ5_NDfh8eNgBbXbXZ2QCxcv47AV67mryP/s1600/RembrandtProgress.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSjUOnYk1r4V9r1KLFExxtUluOdWFOhIdcSIBmwOv0DoteXLx0ac8QQFKTrOrSWsMRB6LIxrSAu15I-uZQrsL5Y9WF4Lxq4DuLVuAJ5_NDfh8eNgBbXbXZ2QCxcv47AV67mryP/s320/RembrandtProgress.jpg" width="320" /></a></div>
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We do not know the identity of <a href="https://www.nga.gov/collection/art-object-page.1206.html">the sitter</a>, it hangs side-by-side with <a href="https://www.nga.gov/collection/art-object-page.1207.html">this portrait</a>, and it seems that this pair of portraits might be husband and wife. Rembrandt made many portraits of wealthy Dutch people who are not known to us now. This pair of portraits has a very interesting provenance involving the Yusupov family, surviving both the Napoleonic invasion of Russia and the Bolshevik revolution. The paintings were taken off their stretchers, rolled up and smuggled out of Yalta aboard a British ship. They are now part of the National Gallery's permanent collection.<br />
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I'm three sessions into the Rembrandt, and the work is coming together. It's a difficult painting to work from even in person, because the dark parts are <i>very</i> dark. It's not due to old varnish, this painting had a complete conservation in 2007; but the contours in the drapery have darkened to near-imperceptibility. My guess is that Rembrandt used lead white as a lightener to describe the folds, and that has now darkened and become nearly as black as the areas around it. The <a href="https://www.nga.gov/collection/art-object-page.1206.html">high-res image</a> on the NGA website is actually much better, because it was taken under very bright light which reveals more of the contrast than can be seen in person. Another very interesting fact about this painting is that it was transferred from one canvas to another (not relined, actually transferred) by a Russian conservationist during the 1800's. It wouldn't seem even possible, and is not a method that modern conservation would employ (since all modern conservation measures MUST be reversible), but it was commonly done then. Here is a <a href="https://www.hermitagemuseum.org/wps/portal/hermitage/what-s-on/museum-blog/blog-post/transmission/?lng=">link</a> about the process to transfer a painting from one support to another, among the riskiest procedures ever used. Here's a <a href="https://www.nga.gov/collection/art-object-page.1206.html#technical">link</a> to the technical notes about this specific painting.<br />
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<span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: x-small;">Work in progress, 24" X 20". Excuse the glare!</span>kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-42931304383108941972018-05-25T09:47:00.000-07:002018-05-25T13:48:22.898-07:00Vermeer and DuchampTwo projects in process currently: a commission for Vermeer's Milkmaid, and a commissioned Rembrandt at the National Gallery.<br />
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The Vermeer is a huge challenge, especially because I can't work from the original which is in the Netherlands. So, I requested a high-resolution image and information from the <a href="https://www.rijksmuseum.nl/en/">Rijksmuseum</a>, which they very kindly sent. <a href="http://www.essentialvermeer.com/catalogue/milkmaid.html">This link</a> is a wealth of information about this painting, Vermeer's masterwork, which is full of symbolism and sublime beauty. When I took it on, I didn't realize how much difference it would make that I couldn't see the actual work. The authoritative image is only as good as the monitor with which one views it, so I loaded it onto several computers and tried to sort of "average" the color interpretation.<br />
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Here is the work in progress, probably 2-3 weeks from being finished, lots of adjustments and details to be done:<br />
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24" x 20", oil/stretched canvas</div>
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The other commission I've done recently is Duchamp's Nude Descending a Staircase, for a very dear friend and fellow artist who traded an original work for it. I was the winner in that deal. :)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1ajhyphenhyphenlVdVcREHcxf1BiHTMrgrGBm9fb39qiyDUjFdnH7pc8dKC-knX702iEO7IldJTx6bmAhgXykjtQC31LiOA78TphiQ9x3lbIwKgfjzRC7JkNVgDWPGaf4GTXjF1x2Z_ARl/s1600/DuchampFinal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="969" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1ajhyphenhyphenlVdVcREHcxf1BiHTMrgrGBm9fb39qiyDUjFdnH7pc8dKC-knX702iEO7IldJTx6bmAhgXykjtQC31LiOA78TphiQ9x3lbIwKgfjzRC7JkNVgDWPGaf4GTXjF1x2Z_ARl/s400/DuchampFinal.jpg" width="241" /></a></div>
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This work was outside my comfort zone for sure, but I learned so much about how Duchamp worked. 13" x 9", oil/stretched canvas</div>
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<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-31048186850559372862018-02-11T12:15:00.000-08:002019-06-21T04:21:59.790-07:00Pope Innocent XI'm wrapping up my latest National Gallery Copyist painting, and this one has an interesting background. I'll also talk more about the process and numerous benefits of copying, at the end of this post.<br />
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Here is the almost-finished painting, in front of the original:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ7EzZNFhrPwf_xuaH3EnOjEvgreuV2Svf21TZwOGC0RhJSaG1bnK1WUYcpoWm48na0MrW9O6403EJOvHbKgtVzvEQkAVy7wifI07PaLzgV2110SKc1ynwm-XcVNJNNKAJL5-5/s1600/VelazquezPopeNearFinished.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1274" data-original-width="1600" height="507" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ7EzZNFhrPwf_xuaH3EnOjEvgreuV2Svf21TZwOGC0RhJSaG1bnK1WUYcpoWm48na0MrW9O6403EJOvHbKgtVzvEQkAVy7wifI07PaLzgV2110SKc1ynwm-XcVNJNNKAJL5-5/s640/VelazquezPopeNearFinished.jpg" width="640" /></a></div>
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We must use a larger or smaller support than the original. Since there are other references in a larger format (see below), I chose to go bigger (24 x 18), and the proportions are a bit different.<br />
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The original and the details of it can be seen on the NGA website, <a href="https://www.nga.gov/collection/art-object-page.87.html">here</a>. This painting was bought by Andrew W. Mellon in 1930 as an original Velazquez, but scholars have since established it as "Circle of Velazquez". Velazquez painted the full size portrait of Pope Innocent X in Rome, here is an image of that:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS3Oyf2tHoR2QC1uUvpKeymSZZuW15mwDsuZrnbx5_QmlYQpsLmyCHzdnUrHq5kNGDBHVnxj-WzI6v6C7O9J7wyHUDuq_4Ll_cEx-YnbJrKW3cy301B2WjW5Fw65FsgQ43f2sB/s1600/VelazquezPapa_Inocencio_X._Roma%252C_by_Diego_Vel%25C3%25A1zquez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1254" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS3Oyf2tHoR2QC1uUvpKeymSZZuW15mwDsuZrnbx5_QmlYQpsLmyCHzdnUrHq5kNGDBHVnxj-WzI6v6C7O9J7wyHUDuq_4Ll_cEx-YnbJrKW3cy301B2WjW5Fw65FsgQ43f2sB/s640/VelazquezPapa_Inocencio_X._Roma%252C_by_Diego_Vel%25C3%25A1zquez.jpg" width="500" /></a></div>
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This portrait is still in Rome. The Pope, upon seeing it, said "Troppo vero, troppo vero!" Too true! (This is the work that inspired Francis Bacon's <a href="http://www.phaidon.com/agenda/art/articles/2013/february/08/the-truth-behind-francis-bacons-screaming-popes/">Screaming Pope paintings</a> in the 1950's)</div>
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Then, Velazquez painted what is known as an "autograph replica"--a copy of his original, for himself. That painting now resides in London, and here is an image of it:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYmxod7ZMAZo4gMPvJg3MCvg0wmR_2RwLz1QRGO5tatcBSZDw3BovBJM3Sg1vzuuUFuCQ0cIkVSVzQZ1BSiiUGJywrq4QF4Y6A-yy9O7uT2awfY3BgGyNA2ulNG2k_Gu8mhyphenhyphenl/s1600/VelazquezAutographReplicaPopeInnocentX.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="869" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYmxod7ZMAZo4gMPvJg3MCvg0wmR_2RwLz1QRGO5tatcBSZDw3BovBJM3Sg1vzuuUFuCQ0cIkVSVzQZ1BSiiUGJywrq4QF4Y6A-yy9O7uT2awfY3BgGyNA2ulNG2k_Gu8mhyphenhyphenl/s640/VelazquezAutographReplicaPopeInnocentX.jpg" width="540" /></a></div>
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Both of these are known to be by the hand of Velazquez, so the work at the NGA was assumed to be another replica or study also painted by Velazquez.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjNDYB7ak_AV6ZDY17QkXL2QF-oHwNo1pDvxxTLnAV_FbO6v3xMh1h_8nvw0CITTrAXzmI-mlkgJiuNo4_YEwYwV_upMm5llfVBnD5DKPZp95Jj16aCyCzmGf12f7dj25Lu9Pq/s1600/Velazquez1200.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="992" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjNDYB7ak_AV6ZDY17QkXL2QF-oHwNo1pDvxxTLnAV_FbO6v3xMh1h_8nvw0CITTrAXzmI-mlkgJiuNo4_YEwYwV_upMm5llfVBnD5DKPZp95Jj16aCyCzmGf12f7dj25Lu9Pq/s640/Velazquez1200.jpg" width="528" /></a></div>
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Time and modern technology have made better assessment possible...there is an unrelated painting underneath it. In addition, the expression and other elements have become a little bit exaggerated. On the ear, there is a visible series of dots--revealing a process that was frequently used to transfer an image. This was most likely painted by a workshop assistant or student, on a discarded canvas. We can't possibly know for sure, but the evidence seems compelling.</div>
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In making my copy, I decided to undo some of the distortion of the eyes and brow, and make mine closer to the original or the autograph replica--both of which have a much more believable expression. I referred to high-resolution images of those works, and relied on the paint and brushwork of the painting in front of me. </div>
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My process, as in the past, is to paint from what's in front of me. No tracing or mechanical transfer of the image, because duplication is not my goal...learning is. While I'm grappling with visualizing the original, my errors are woven in and my own voice shows through. This is the greatest gift of copying, I think. It's a lesson from a master, but ultimately it comes through me and produces something original, just as this "Circle of Velazquez" rendition did for whomever painted it.</div>
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Copying is a standard part of an artist's training in school and beyond. We see differently and absorb things in a unique way when we copy--written, drawn or painted. <a href="https://en.wikipedia.org/wiki/Lynda_Barry">Linda Barry</a> likens it to singing along with a song you love, because it takes you somewhere. And yet, the voice is yours.</div>
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My result, minus final touches:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtp3Q5-L4iNPeb3uB9wk_oqlA62kSs-4JUausiSy05tezvFDsJBTe5J-EdHdo3kMlQH6W9Nt8RPbNR0SEkGQkRg0G1acFgLSNc3mFTyjhiCYSDh5lrVDrU8_zMlbtEjHWSu7A7/s1600/VelazPopeNearFinishEditscaled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="759" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtp3Q5-L4iNPeb3uB9wk_oqlA62kSs-4JUausiSy05tezvFDsJBTe5J-EdHdo3kMlQH6W9Nt8RPbNR0SEkGQkRg0G1acFgLSNc3mFTyjhiCYSDh5lrVDrU8_zMlbtEjHWSu7A7/s640/VelazPopeNearFinishEditscaled.jpg" width="484" /></a></div>
kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-1823887555762846242017-12-16T13:25:00.000-08:002019-06-22T10:02:46.193-07:00Lievens nearing completionProbably one session left to finish this.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6uHcgGv-3Mwe8t46QL1v3jFVP1oRmMQCV8rO85YciFFYgdc8I1fvTRcnOLS_RjOkUFfxhZUSNvloKUDG9G5F-i-sBf7p3V48-pC6oPX_6vpboyJ1ibyehRTs09KIsRMbTk5SA/s1600/Lievens6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1416" data-original-width="1600" height="566" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6uHcgGv-3Mwe8t46QL1v3jFVP1oRmMQCV8rO85YciFFYgdc8I1fvTRcnOLS_RjOkUFfxhZUSNvloKUDG9G5F-i-sBf7p3V48-pC6oPX_6vpboyJ1ibyehRTs09KIsRMbTk5SA/s640/Lievens6.jpg" width="640" /></a></div>
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Up close, there is still quite a bit to do. We must keep the materials at least 4 feet from the painting, so adding a couple feet for the distance to my eyes, I'm actually about 6 feet away while working. From that distance, my copy looks amazing; but then I step up close, and the perfection in the original makes me want to hang up my brushes.<br />
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Lievens did quite a few paintings of this same model. Here are some links with images of other "tronies". I think it had to be the same model.<br />
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<a href="http://www.sothebys.com/en/auctions/ecatalogue/lot.19.html/2010/old-master-and-british-paintings-evening-sale-l10033">Sotheby's</a> and <a href="http://www.christies.com/lotfinder/Lot/jan-lievens-leiden-1607-1674-amsterdam-tronie-of-5813568-details.aspx">Christie's</a><br />
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The magical part of copying a work is not knowing how some of the effects were created, then accidentally stumbling onto those methods while working. Like happy accidents, those "ah-ha" moments are what make the exercise so valuable.<br />
<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-68880612698502683412017-12-15T10:12:00.000-08:002017-12-16T11:32:16.401-08:00Portrait project 4<div class="separator" style="clear: both; text-align: center;">
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Here are two portraits of the same sitter, and a story to go along with them. I'll start with the one that I feel best captures who he is.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik0GzNZDLZdCU8z78lzzuBNryXTBKNki7lcLCmBVhnSbN_SZuEYQrGzZ15RRPR8omB7nPKFQu-O7v668ezNOEur6iiaPExCMHYaMUA_tlrOo8G-7vmdvVRX8vNi8zVaLPl-Tq-/s1600/MCfinalMedLight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="988" data-original-width="1000" height="632" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik0GzNZDLZdCU8z78lzzuBNryXTBKNki7lcLCmBVhnSbN_SZuEYQrGzZ15RRPR8omB7nPKFQu-O7v668ezNOEur6iiaPExCMHYaMUA_tlrOo8G-7vmdvVRX8vNi8zVaLPl-Tq-/s640/MCfinalMedLight.jpg" width="640" /></a></div>
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He's confident, happy, has a megawatt smile. He's also a busy professional with very little free time. He's a football fan (Go Redskins!), so when he came by for a sitting, he asked if he could listen to the game on headphones while I sketched him. I always want people to be comfortable and at ease while I'm working, so I said sure! Unfortunately, the team missed a field goal and fell behind, so the expression I got was actually more like this:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nbmQEVRuMyRorLIu09ZJOFw8QUA5DYZl1tko-tI__5eNAf_Ru96VnCu05pCKD-WV8HDwSnTsypRR7lZMICJNLb_JdN2qK5jNdzagsfqbMcJ6pIwlBGyXhyphenhyphenXPqFgsS3FLUQm3/s1600/2017-12-020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="998" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nbmQEVRuMyRorLIu09ZJOFw8QUA5DYZl1tko-tI__5eNAf_Ru96VnCu05pCKD-WV8HDwSnTsypRR7lZMICJNLb_JdN2qK5jNdzagsfqbMcJ6pIwlBGyXhyphenhyphenXPqFgsS3FLUQm3/s400/2017-12-020.jpg" width="398" /></a></div>
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Not that there's anything wrong with that, I was very taken with the drama that unfolded on his face, but I struggled terribly to complete an accurate likeness (later repainted it 8 times, and then abandoned)--because this really isn't who he is. Fortunately, I had time to chat with him enough to get to know him, and took some reference photos--one of which enabled me to get the likeness in the top image here. </div>
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Yesterday I happened to talk to another portrait painter while painting at the National Gallery, and she mentioned how difficult it is to get people to come for a live sitting at all any more; they would rather just submit photos. People are busy, which is understandable, but a portrait painted from a photo without the benefit of "face time" with a sitter will never capture the same energy and character. There's something sublime that happens between the subject and the painter, that makes it possible to portray the sitter's best self: a blend of how they see themselves, how the painter sees them, and the essence of their personality. I am glad I had enough time with this guy to get to know him a little, because that's what saved me.</div>
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<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-82260891186716296772017-12-02T08:44:00.000-08:002017-12-02T08:57:21.993-08:00Lievens in progress<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG-hPtFhEvcuaKwyOEC8MwhSByksoy7x9ucPNdLzMpi2MkMucjADSDiK8mq8Ct6fs06P3eWSZsxxS8gm0vBJ5M6eGbXonKqRw1wxl7XZQKdre0pGJvBaX4iQquJXPFFPQL7qO1/s1600/Lievens3progress.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="601" data-original-width="988" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG-hPtFhEvcuaKwyOEC8MwhSByksoy7x9ucPNdLzMpi2MkMucjADSDiK8mq8Ct6fs06P3eWSZsxxS8gm0vBJ5M6eGbXonKqRw1wxl7XZQKdre0pGJvBaX4iQquJXPFFPQL7qO1/s640/Lievens3progress.jpg" width="640" /></a></div>
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Last week, my husband took this shot of me working on my Lievens copy. Made good progress this week, starting the eyes and some of the skin tones:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRM-VJmmUjrs6-YGt6ka1jGNXP7RHEYObEUo5UI5yVWUoDsESDMrdb6k-1vIuEOiBBvCQW9Th2dBT370xLXYS_5WAHny2miZgzevacDHCEUzcBt06N7YNOBfNh-MeeB3_SK1rF/s1600/Lievens4b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1548" data-original-width="1600" height="618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRM-VJmmUjrs6-YGt6ka1jGNXP7RHEYObEUo5UI5yVWUoDsESDMrdb6k-1vIuEOiBBvCQW9Th2dBT370xLXYS_5WAHny2miZgzevacDHCEUzcBt06N7YNOBfNh-MeeB3_SK1rF/s640/Lievens4b.jpg" width="640" /></a></div>
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The eyes, even unfinished, have brought the figure to life. Visitors love that, and for good reason. It's much easier now to envision the whole face. There is still much to do, probably three more sessions. I'm reserving the beard for last, because that seems to be the order that Lievens followed. The paint and scoring that make up the "whiskers" clearly overlap the skin and clothing.<br />
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I am using only an earth palette. Although I brought chromatic primaries with me, I didn't touch them. The "blue" eyes are painted with black and white, which is almost certainly what Lievens did. In isolation the color is grey, but in the warm context of the skin, they look very blue. Other than that, I'm using yellow ochre or raw sienna, earth red, burnt sienna and burnt umber. As for painting medium, I would love to use Venice turp which would give a lot more traction especially for the thicker passages of the skin, but real turpentine is not allowed in the NGA because of the stronger smell. Walnut alkyd medium works great for the glazing, adding translucency and a hint of tack and traction.Walnut oil is a nod to the original, since these masters were thought to use walnut rather than linseed. The alkyd helps it dry much more quickly than walnut or even stand oil would, alone.<br />
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If you haven't listened to the NGA podcasts about Jan Lievens, there are links in <a href="https://kathrynlaw.blogspot.com/2017/11/new-copyist-project-jan-lievens.html">this post</a>. Here is a slightly closer view of the copy at the end of the day:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgivJdPoC6GHT9u3PfS5D5C577uQGRbrhbdx0TOEh6kUeWHkj7FR4nGwHyg4L0Eof5UfD61QvyjpRsm5hXkFaCX4CjE2Trl5F9ivRjtTabpTroMqWvxFD2epBVM8kt9ImDeehR_/s1600/Lievens4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1335" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgivJdPoC6GHT9u3PfS5D5C577uQGRbrhbdx0TOEh6kUeWHkj7FR4nGwHyg4L0Eof5UfD61QvyjpRsm5hXkFaCX4CjE2Trl5F9ivRjtTabpTroMqWvxFD2epBVM8kt9ImDeehR_/s640/Lievens4.jpg" width="532" /></a></div>
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<span id="goog_672126512"></span><span id="goog_672126513"></span><br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-20351264636446086102017-11-18T15:59:00.000-08:002019-03-23T14:35:31.472-07:00Portrait Project 2 & 3Here are the second and third in the series of portraits. In these difficult times, portrait painting makes me feel more connected than anything else to my fellow humans.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZglcVMq07ul7U3Wdvc8HVJ7G_nXxySeK00HLcOmT9E1IKETJrXAsTjsN-c25rbamK84-xPzU6HO6v79jVeY_nvWpwWRtzOlyoWQMNYnccZvMTXI9REk448QZuqXSTYUj782Lj/s1600/HBfinal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1586" data-original-width="1600" height="633" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZglcVMq07ul7U3Wdvc8HVJ7G_nXxySeK00HLcOmT9E1IKETJrXAsTjsN-c25rbamK84-xPzU6HO6v79jVeY_nvWpwWRtzOlyoWQMNYnccZvMTXI9REk448QZuqXSTYUj782Lj/s640/HBfinal.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKEbceJU7Dr7tEAJzifkieAgipFO5eDixhaKarxavUsFHUxXcrqeZ2HiYkWvJ5NyTkCGLHzObv_7DT_SSbWpcFu6iQtAkWUh6WXEVR_Ob-OwK7-fYIL0clzjESIsrsJjsj-9xq/s1600/JFfinal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1599" data-original-width="1600" height="636" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKEbceJU7Dr7tEAJzifkieAgipFO5eDixhaKarxavUsFHUxXcrqeZ2HiYkWvJ5NyTkCGLHzObv_7DT_SSbWpcFu6iQtAkWUh6WXEVR_Ob-OwK7-fYIL0clzjESIsrsJjsj-9xq/s640/JFfinal.jpg" width="640" /></a></div>
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Haley and John, 12 x 12 oil on canvas.kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-55401915337581283012017-11-17T09:27:00.001-08:002017-12-24T11:21:42.647-08:00New Copyist project: Jan LievensHere is the final image of my rendition of Van Gogh's Roses. I learned a lot about how he applied paint, especially as I worked the last stages. Much of what I attributed to the difference in paint texture was actually due to the manipulation with the end of the brush handle--some passages he didn't even apply with a brush, just drew them in with the end of the handle. That was a revelation.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJgLIJIrKfl2bkI_jlspdxHeuWdv6eUB5SAAudcOKj1HRJW9wGX51yNpXBrjAgeGGU7398JUyypCORsS8LpAj6Mb1VhmD-1b8Xs7ocIdUDEdDRivXrs81xynRCkfJvIVKMtu7k/s1600/RosesFinalUntuned-005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="747" data-original-width="1000" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJgLIJIrKfl2bkI_jlspdxHeuWdv6eUB5SAAudcOKj1HRJW9wGX51yNpXBrjAgeGGU7398JUyypCORsS8LpAj6Mb1VhmD-1b8Xs7ocIdUDEdDRivXrs81xynRCkfJvIVKMtu7k/s640/RosesFinalUntuned-005.jpg" width="640" /></a></div>
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My next project is pretty much the other end of the spectrum from Van Gogh. Jan Lievens (1607-1674) was a contemporary, friend, rival, and studio-mate of Rembrandt. He was very successful during his lifetime, but fell into relative obscurity afterward for various reasons. His work is incredibly luminous, like Rembrandt's, and in fact much of Lievens' work was attributed to Rembrandt for some time. Finally emerging from Rembrandt's shadow, Lievens has gotten the credit he is due.<br />
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In 2008 the National Gallery mounted an exhibition devoted to Lievens, and produced three 8-minute podcasts which are still available online. Listen to them here:<br />
<a href="https://www.nga.gov/audio-video/audio/liev-wheel1.html">https://www.nga.gov/audio-video/audio/liev-wheel1.html</a><br />
<a href="https://www.nga.gov/audio-video/audio/liev-wheel2.html">https://www.nga.gov/audio-video/audio/liev-wheel2.html</a><br />
<a href="https://www.nga.gov/audio-video/audio/liev-wheel3.html">https://www.nga.gov/audio-video/audio/liev-wheel3.html</a><br />
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Here is a self-portrait from about age 20, when he was considered a prodigy:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY_5eyHzv6ZOHCNnY4mgKKcvVmTvqCm-Bp6ILGOGQevh2MqWwT9CoL5NwcG2LY7FEdPcnRbPjNKkYZ1_VDSLPY8TK8-CTrnGaNDdsNqJQ5YUHZZfYiSUPOxyeODxR0c0GQp9Oe/s1600/LievensSelfPortraitCirca1629to1630.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1123" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY_5eyHzv6ZOHCNnY4mgKKcvVmTvqCm-Bp6ILGOGQevh2MqWwT9CoL5NwcG2LY7FEdPcnRbPjNKkYZ1_VDSLPY8TK8-CTrnGaNDdsNqJQ5YUHZZfYiSUPOxyeODxR0c0GQp9Oe/s320/LievensSelfPortraitCirca1629to1630.jpg" width="239" /></a></div>
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Lievens and Rembrandt both painted many character studies, known as "tronies". The painting that I'm working from is one of them:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqhweNox_Yp4OqtRk0OMaVcR73kI-194cqf-hJnJbB3V89bsC02nSwGvmFFhTrYhnoKXomPHzxDdjuccBd6YFAfcz-1Dd3J091pfVQyCxjIWmy9jP24S6YOVJnRkZMqCxyhWs/s1600/LievensA11404.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1029" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqhweNox_Yp4OqtRk0OMaVcR73kI-194cqf-hJnJbB3V89bsC02nSwGvmFFhTrYhnoKXomPHzxDdjuccBd6YFAfcz-1Dd3J091pfVQyCxjIWmy9jP24S6YOVJnRkZMqCxyhWs/s320/LievensA11404.jpg" width="274" /></a></div>
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This is "Bearded Man with a Beret", from circa 1630, approx 21 X 18 inches. The description on the National Gallery website can be found here, as well as a high-resolution image that you can zoom in on to see the astonishing detail: </div>
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<a href="https://www.nga.gov/Collection/art-object-page.131993.html">https://www.nga.gov/Collection/art-object-page.131993.html</a></div>
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This painting is on wood panel, so to approximate the smooth surface, I'm using Gamblin Oil Ground over gessoed smooth canvas. The surface of the wood panel shows through in areas where Lievens carved out shapes (more about that later), so I toned my surface to roughly that color. </div>
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It's difficult to see in this photo just how much the painting seems to glow in real life. The skin is luminous, the eyes glisten, it's a masterful work. Lievens' glazing technique utilized a lot of the underpainting in an intense burnt sienna or earth red, showing through the thinly scumbled layer glazed over it. This is perhaps most visible in the chest area, where the grey of the garment is laid in very thinly, as is the deep umber of the background. For the first two sessions, I've worked on laying out a correct drawing on my canvas, and glazing an underpainting, trying to "reverse engineer' how Lievens established his values and what colors would show through where.</div>
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Here's a shot of my setup, halfway through the second session:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrxgo_kqe523yPuSKFvJJ1MY6e_7W70uF9GIv0yS06K90dibgrn4hY5aIRwcPq3lTIDfKvrDX9jRHAfq28ztNw6Ws1RG-nSOAz8OrW1w9j3RzYiIrX77Hg-Jhe02xULuD2v3PP/s1600/Lievens2setup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1432" data-original-width="1600" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrxgo_kqe523yPuSKFvJJ1MY6e_7W70uF9GIv0yS06K90dibgrn4hY5aIRwcPq3lTIDfKvrDX9jRHAfq28ztNw6Ws1RG-nSOAz8OrW1w9j3RzYiIrX77Hg-Jhe02xULuD2v3PP/s320/Lievens2setup.jpg" width="320" /></a></div>
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And at the end of the day:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIULMvtxeglk39JGhypEbzIw_hbM3YlFwObIcojDm9c-bAzfcGO52Dvl2P4rtkNgAbNCfI6AD0JjGNI516XKFtCOlBj7PRTm_3QTA4gusO8HCf3iltFRAeiL6bj8U2IhIh3I7W/s1600/Lievens2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1300" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIULMvtxeglk39JGhypEbzIw_hbM3YlFwObIcojDm9c-bAzfcGO52Dvl2P4rtkNgAbNCfI6AD0JjGNI516XKFtCOlBj7PRTm_3QTA4gusO8HCf3iltFRAeiL6bj8U2IhIh3I7W/s400/Lievens2.jpg" width="325" /></a></div>
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I see corrections to the drawing that still need to be made, and since so much of the underpainting shows in the finished work, it really needs to be correct from the ground up. </div>
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kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-54090476984993617592017-10-27T05:33:00.000-07:002017-10-27T05:33:43.860-07:00Progress on Van GoghHoping to complete this next week. I'm restoring a little bit of the pink that Van Gogh intended, trying to be faithful both to his intent and to the current reality. If you haven't watched the video produced by the Met, it's a phenomenal synopsis of this painting's context in his work and approximations of what it looked like.<br />
<a href="https://www.youtube.com/watch?v=wJM3JhAfad8">https://www.youtube.com/watch?v=wJM3JhAfad8</a><br />
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After session #4, here's my copy.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWc0wapVjdamcD4sI6v5qJEHP0Qfx6BWQngJGr44-VrwF5A-XWUoHcxFnzlLMmAY01nypRiW4o3qc4mXzFHN_QZuxuNtr1QLAo15OKTfRwOSmBSRn_FFT16O_3tko8WII0VOrN/s1600/Roses4%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1205" data-original-width="1600" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWc0wapVjdamcD4sI6v5qJEHP0Qfx6BWQngJGr44-VrwF5A-XWUoHcxFnzlLMmAY01nypRiW4o3qc4mXzFHN_QZuxuNtr1QLAo15OKTfRwOSmBSRn_FFT16O_3tko8WII0VOrN/s640/Roses4%25283%2529.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh4e0uj7DalvaY6j-VJuGTSEZNLAmFMpyAjzzQKYcUjUEfYsM4lb8gouvmqZs7s-X0OzMbvOO4cjVJxs0brfS6PNcnlxYHiL7sdNS2EtVZzdsy4CLVRlzpswghlpb0TWJHGfV6/s1600/Roses4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1316" data-original-width="1600" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh4e0uj7DalvaY6j-VJuGTSEZNLAmFMpyAjzzQKYcUjUEfYsM4lb8gouvmqZs7s-X0OzMbvOO4cjVJxs0brfS6PNcnlxYHiL7sdNS2EtVZzdsy4CLVRlzpswghlpb0TWJHGfV6/s640/Roses4.jpg" width="640" /></a></div>
<span id="goog_645587499"></span><span id="goog_645587500"></span><br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-70480467738041628382017-10-18T10:07:00.001-07:002021-04-01T10:55:43.809-07:00Patuxent River from Mt CalvertHere's a field sketch done at Mt Calvert Historical and Archeological Park in Upper Marlboro MD, overlooking the Patuxent River.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzk7QtiXFp_MZbbUCHxJmkcXb4u8H1NRTXBCntxtTLibs3tEVllrN6yAFWpDMLOkJPqFHRU3QVRNsFgrWkeGlIR_IHeicDkVWhGDHf3TKE4ymgHX-ORyV8hJagjkDQXYW0Nkb7/s1600/IMG_20171016_105933+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1247" data-original-width="1600" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzk7QtiXFp_MZbbUCHxJmkcXb4u8H1NRTXBCntxtTLibs3tEVllrN6yAFWpDMLOkJPqFHRU3QVRNsFgrWkeGlIR_IHeicDkVWhGDHf3TKE4ymgHX-ORyV8hJagjkDQXYW0Nkb7/s400/IMG_20171016_105933+%25281%2529.jpg" width="400" /></a></div>
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6 x 8" oil on gessoed bamboo card</div>
<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-60460662605629690992017-10-12T15:53:00.002-07:002017-10-12T15:53:56.406-07:00Roses continuedSecond session, my setup. This is how far I got after 8 hours total:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKkVPjqLbGkIHLACqBqPDYcnuOVWVxvpxUSx_kGhCecgpXY8BPgvx0LkrB4xuwSoA5ntZfxPuMGNaIoWeRH9Xz7sfSgqT8BxV5aegc_hRvH8p-p0E2Mw_58QgT1qx7ZFcI2lLk/s1600/Roses+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1315" data-original-width="1600" height="523" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKkVPjqLbGkIHLACqBqPDYcnuOVWVxvpxUSx_kGhCecgpXY8BPgvx0LkrB4xuwSoA5ntZfxPuMGNaIoWeRH9Xz7sfSgqT8BxV5aegc_hRvH8p-p0E2Mw_58QgT1qx7ZFcI2lLk/s640/Roses+2.jpg" width="640" /></a></div>
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I'm taking pains to get the drawing right, especially since I've changed the proportions slightly. Using gridlines as a guide when drawing, allows those adjustments to made accurately across the whole surface. I've been reading a lot about how Vincent worked. That background color was applied in a thin layer at first, then the thick ribbons of diagonal texture were some of the last strokes he added. He used dark blue to lay in the drawing, and those lines remain very visible and an important part of the composition.<br />
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Session 3, I'm starting on the leaves and flowers.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOlL8_olB-LofE8Gouik30Q7wfoPic_2azBc4FESpTQfKqDbOXux5VeW82WRWUWVJ-j5kiVS9c-tVxVLF65IXZKKlLpOQeSd-bHPk9qVWY3qGwmA6CPxSFmMWLELdm5wCqNnCi/s1600/Roses+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1204" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOlL8_olB-LofE8Gouik30Q7wfoPic_2azBc4FESpTQfKqDbOXux5VeW82WRWUWVJ-j5kiVS9c-tVxVLF65IXZKKlLpOQeSd-bHPk9qVWY3qGwmA6CPxSFmMWLELdm5wCqNnCi/s640/Roses+3.jpg" width="640" /></a></div>
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This is one of very few Van Gogh's to show revisions. Normally he painted very quickly with few revisions or corrections. Here, he added roses to the bottom of the vase and a sprig at left to correspond to one of the accompanying paintings. If you haven't watched <a href="https://www.youtube.com/watch?v=wJM3JhAfad8">the Met video</a> yet, it's truly worth 8 minutes of time to understand so much more about this series of flowers.<br />
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The color issue: He used geranium lake, along with red lead in other paintings possibly because he knew that the lakes were fugitive but letters to Theo for needed supplies specify tubes of geranium lake for these paintings. His strategy, described in his letters, was to overload the color to compensate for future fading, but he couldn't have known they would fade all the way to white.<br />
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It's hard to know how much pink to put back. We have some photos from the 1920's and 30's but how reliable can those be? Color reproduction was dismal then, but we do know for certain that these roses were originally mostly pink:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEido60QiZ57D7zCo_oTKqppj2WOfHgfwmFV86kYqr9AUJwhubNN2xmKINyVzvOrNytChytwJ1yESfexN7uFSRJawi5Oo9L9lAJsZbZ8czWTwNDNTSpEXo_6Q8ed-HqPWvuBmvI7/s1600/Roses_van_gogh-old+color.Jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1276" data-original-width="1600" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEido60QiZ57D7zCo_oTKqppj2WOfHgfwmFV86kYqr9AUJwhubNN2xmKINyVzvOrNytChytwJ1yESfexN7uFSRJawi5Oo9L9lAJsZbZ8czWTwNDNTSpEXo_6Q8ed-HqPWvuBmvI7/s640/Roses_van_gogh-old+color.Jpg" width="640" /></a></div>
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kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-4018852543913947712017-10-09T12:20:00.000-07:002017-10-09T17:39:58.166-07:00Van Gogh RosesStarting a new copy at the <a href="http://nga.gov/">NGA</a>, of Van Gogh's <a href="https://www.nga.gov/Collection/art-object-page.72328.html">Roses</a>. Here is the original:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc-Y3J2vFJ52SuC2l4yfF907LcwyjNVBmzeHWlLSToYEiB1xnu-uaF357zTdxWTjV7gHb7pXWWPGGoUAUYfXilFfRvibe55BFRsUBiCuXNHKBver8MCLbkUH_sS84HtLhPRPDK/s1600/Roses_-LargeImage_Vincent_van_Gogh.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1268" data-original-width="1600" height="505" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc-Y3J2vFJ52SuC2l4yfF907LcwyjNVBmzeHWlLSToYEiB1xnu-uaF357zTdxWTjV7gHb7pXWWPGGoUAUYfXilFfRvibe55BFRsUBiCuXNHKBver8MCLbkUH_sS84HtLhPRPDK/s640/Roses_-LargeImage_Vincent_van_Gogh.JPG" width="640" /></a></div>
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This was painted in May of 1890, during his last hospital stay just two months before his death, as part of a series of four floral still lifes. The Met had a show in 2015 of all four, which included this painting from the NGA, one from the Netherlands, and the other two which are in the Met's collection. I'll be talking more about that exhibition and the scholarship that followed.</div>
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The value in copying a work like this is that it is radically different from the way I normally paint, which makes it a great exercise. The description on the NGA site notes that the roses used to be pink, but the fugitive pigment has faded so much that they are now almost entirely white. That inspired me to look up the research on what pigments he used, and what he may have intended them to look like. I want to share as much background as possible with curious visitors, and there is a lot to tell them about this painting. I highly recommend this <a href="https://www.youtube.com/watch?v=wJM3JhAfad8">8-minute video produced by the Met</a> for their exhibition, for the context of this work. The discussion of Van Gogh's fugitive colors begins at the 4-minute mark.</div>
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First session, I focused on the drawing. The proportions of my canvas are different but much closer than the Haseltine. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLqwEibHOZvZ8eu-Rxug9PU7qIRriYSS1vs_p-dB2nzY8B5eNKLus59RGDZcGmgUfq6eQVeYAvor_Pf8mnDUc2K_ZZbJuig5RmBEjeb6nc4Og5WY4twdAi67jqed_41jV3kLfy/s1600/Roses1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLqwEibHOZvZ8eu-Rxug9PU7qIRriYSS1vs_p-dB2nzY8B5eNKLus59RGDZcGmgUfq6eQVeYAvor_Pf8mnDUc2K_ZZbJuig5RmBEjeb6nc4Og5WY4twdAi67jqed_41jV3kLfy/s400/Roses1.jpg" width="400" /></a></div>
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There is a LOT going on in this bouquet. While Vincent was able to freestyle the composition as the flowers inspired him, my mission is to copy his work so my drawing has to be as close to his as possible. That's a much slower process, and this was all I could muster in 4.5 hours. His canvas shows through much more than one would think, given the impasto nature of most passages. The canvas that can be plainly seen is a buff color, so I chose raw sienna to tone my bright white canvas.</div>
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I'm reading a lot about Vincent's endlessly-fascinating life, which remains a source of interest and curiosity among those admiring his work. Two weeks ago, the NYTimes published an <a href="https://www.nytimes.com/2017/09/23/opinion/sunday/starry-night-van-gogh-selfies.html">article about "Starry Selfies"</a>-- New York's MOMA has a constant stream of people taking selfies in front of Van Gogh's "Starry Night". At the time, I was finishing up the Haseltine and thought "wow, that doesn't seem to happen at the NGA!" Turns out, it does happen here too, and the "selfie magnet" is hanging two paintings away from the Roses. It's <a href="https://www.nga.gov/Collection/art-object-page.106382.html">this one</a>:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNl-UJtDmhVLIYwvJ_7AOXEjK-Evq9xOU2jt96WgvsPK_wdtDoOX_8pxVjp5v5dizKNlUI6kscV9QlRQxqWfTlGso83pTv2pT_8wpoqvS309qmf46PhyphenhyphenKl6EPx5T5Ud2oEvH5e/s1600/A18663.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="921" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNl-UJtDmhVLIYwvJ_7AOXEjK-Evq9xOU2jt96WgvsPK_wdtDoOX_8pxVjp5v5dizKNlUI6kscV9QlRQxqWfTlGso83pTv2pT_8wpoqvS309qmf46PhyphenhyphenKl6EPx5T5Ud2oEvH5e/s400/A18663.jpg" width="306" /></a></div>
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kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-67467301473634501662017-10-04T13:00:00.000-07:002019-03-23T14:27:34.990-07:00the Portrait ProjectSince I've just moved across six time zones to a new apartment community, I thought about this project as a way to meet my neighbors while sharpening my portrait skills. I posted the idea on the community web page, and got some interest. This is the first portrait of hopefully many. He's a retired Coast Guard veteran and cancer survivor. He moved here about the same time we did.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLokkOEJKrIMezXeGMnW5GIs4oQOS_NUPax1llyt9FYohOP0YKn3336GeP_jGXuufjK3o8ZEKV1DSmueptSJWsAxYzv82fQWv7ecm-ZUns8t7gKkBDrflp-wjhxEW20ZEBqCcP/s1600/Portrait1Sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="692" data-original-width="704" height="627" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLokkOEJKrIMezXeGMnW5GIs4oQOS_NUPax1llyt9FYohOP0YKn3336GeP_jGXuufjK3o8ZEKV1DSmueptSJWsAxYzv82fQWv7ecm-ZUns8t7gKkBDrflp-wjhxEW20ZEBqCcP/s640/Portrait1Sm.jpg" width="640" /></a></div>
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<span style="text-align: left;">12 x 12 square, stretched canvas. I've also begun a new copy at the National Gallery, a Van Gogh. We'll see what happens with that!</span></div>
kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-5747600971532654062017-09-29T15:56:00.000-07:002017-10-09T17:40:37.155-07:00Haseltine wrap-up<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheK5wxn7DAKFwCcTq_ArqSTh2CPIyPIwZymJLLpS2T1215TJ3Qtz_LQRoO20xzEzJj5DALFEZgEQTRbuKRveby3_QzPgmSZC9n_af7uKVOVx6kcDbrBasEfnU07RIEMk1L_Caj/s1600/IMG_20170831_142348.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheK5wxn7DAKFwCcTq_ArqSTh2CPIyPIwZymJLLpS2T1215TJ3Qtz_LQRoO20xzEzJj5DALFEZgEQTRbuKRveby3_QzPgmSZC9n_af7uKVOVx6kcDbrBasEfnU07RIEMk1L_Caj/s320/IMG_20170831_142348.jpg" width="320" /></a></div>
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Next-to-last session, I started adding a lot of detail in the rocks and waves. Waiting until closer to the end to define the little figures by the large rock, because I wouldn't even want them there--but they are important for human scale against those rocks, another good decision by William Stanley Haseltine.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_7zdARSU6MgpqI-Ope3E4cZlqgO5uEhqP8G_x5Yvwmow0HGlYzvyYY01DKWXBtg42YxkapxckEBTm2Sjw1cdjDfrPVwP8yhMYDZ8vsIh2yPC7Nbenqn5uZAFprRL7P1RFDnOI/s1600/IMG_20170831_144534.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_7zdARSU6MgpqI-Ope3E4cZlqgO5uEhqP8G_x5Yvwmow0HGlYzvyYY01DKWXBtg42YxkapxckEBTm2Sjw1cdjDfrPVwP8yhMYDZ8vsIh2yPC7Nbenqn5uZAFprRL7P1RFDnOI/s320/IMG_20170831_144534.jpg" width="320" /></a></div>
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Prior to this session, I was thinking I had the sky color pretty well sorted out--but after a week away, I found it to be too dull. One major handicap that I had not anticipated, was the lighting in the gallery. The exhibited paintings are beautifully illuminated by spotlights, but Copyists' work on the easels are dependent on skylights for lighting. Every time clouds passed across the sun (which happens a lot here), my light changed. </div>
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Those figures on the rocks, by the way, are so detailed in the original work that you can see the brim of the hat worn by the male and a <i>ribbon</i> around the hat of the woman seated next to him. I can't see that in the original from six feet away, so I opt out of that much detail in my copy. I also chose not to include the seagulls that were sprinkled about the sky.</div>
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Final result, oil on canvas, 18 x 24:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidSAC5Mnuud1ctyQ91A2E0k01dBs2aelObih5dSLhXFA-_GqdudnCZILxfnijCEWk49I4zeJHNSMxOmSIXH82iUdiawMi5GW06Sb-zMzMGvhrwWJgFvyvGgXd0WJAh5xClCXKg/s1600/NarragansettFinal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1179" data-original-width="1600" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidSAC5Mnuud1ctyQ91A2E0k01dBs2aelObih5dSLhXFA-_GqdudnCZILxfnijCEWk49I4zeJHNSMxOmSIXH82iUdiawMi5GW06Sb-zMzMGvhrwWJgFvyvGgXd0WJAh5xClCXKg/s640/NarragansettFinal.jpg" width="640" /></a></div>
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One of my favorite aspects of being a Copyist is talking with people from all over the world. I get to use all the languages I know, and I get to be an ambassador. Given the current political climate, I'm happy and amazed to still see so many visitors from overseas.</div>
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I was often asked why I chose this work to copy. As a landscape painter, I have a fondness for the 19th Century artists who made landscape their focus. And, being newly-relocated to the East Coast, I thought this would be a good way to vicariously explore the Atlantic coast, which is so different from the Pacific coast where I have spent most of my life.<br />
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<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-19970950322879292412017-09-22T09:21:00.000-07:002017-09-22T09:21:51.797-07:00Haseltine marching on<div class="separator" style="clear: both; text-align: center;">
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Fourth session was mainly about final decisions on composition, especially related to the rocks, figuring out where problems still existed and fixing those. The sky and water seemed like they'd be the easier problems to solve. (Ha!) At this point I finally have the horizon close to where it should be and it feels like the diagonals and interaction of the rocks are beginning to work as intended.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjICbuAJRLyGQqqKN0D9YeAL2U7kSqlMwZUpFAzAhZMSXU3sfWZn5eAm2l_Tab-3hp97uaCkv6bUeQS0Y10ja6M_lyBx98wbEgGRGjLyKkXrCJ6JIgmGDWAnj2_2euHpCR6Zoo1/s1600/IMG_20170824_154321.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjICbuAJRLyGQqqKN0D9YeAL2U7kSqlMwZUpFAzAhZMSXU3sfWZn5eAm2l_Tab-3hp97uaCkv6bUeQS0Y10ja6M_lyBx98wbEgGRGjLyKkXrCJ6JIgmGDWAnj2_2euHpCR6Zoo1/s320/IMG_20170824_154321.jpg" width="320" /></a></div>
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Fifth session, about 20 hours into it at the end of the day. Beginning to resolve the sky and water, but still not happy with the color. This photo is in poor light so not accurate, but Haseltine's sky palette actually was very subdued. It's difficult to know how much of that is due to time and varnish, but the work looks remarkably fresh for its age, and its provenance would support that impression, so now I have a decision to make. Do I mute those blues and greens all the way down to the point that he did? So many visitors have said that they like aspects of my work better than the original (even saying that to the guards, so they aren't just being nice to me)... Maybe it's okay if my copy has a little bit of my style in it.</div>
<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-62163401229550096622017-09-18T14:32:00.000-07:002017-09-18T17:06:52.390-07:00Haseltine continuedAfter the first session, I studied printouts of photos of my work in progress and considered how to keep Haseltine's rhythm and structure while changing the proportions of the work. This wasn't a challenge that I decided on ahead of time, it just turned out that an 18 x 24 was the only canvas I could get on a moment's notice...but now I'm really happy about it because it added another dimension to the exercise.<br />
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Visitors are universally kind and complimentary; even obviously-experienced painters are very generous with praise. Not all Copyists want this much interaction with the public, but as a former Artist in Residence, I welcome it. The Copyist program considers it part of the reason I'm there, and I embrace that.<br />
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By this point, I thought I better start washing in some local color...and that pretty much quadrupled the interest in the work!<br />
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I was mainly still struggling with the drawing and composition, but adding a little color did help me get more of a sense of how his composition worked to move the eye around, and I made quite a few more changes after this.</div>
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The following week, third session, I made more changes to the drawing and added more local color, still avoiding detail. There were lots of opportunities to explain how we construct a work, not by fully developing one section at a time, but by working the whole surface and keeping the development unified, slowly adding layers of color and trying not to kill the underpainting in the process.</div>
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The single most often-asked question is, "how long did this take you?" People were surprised when I said, "About 12 hours so far." It reminded me of something that a visiting artist said during my BFA studies. She said (about demand for one's work), "People want something that looks like it took a long time to make." </div>
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This is about halfway finished at this point, and I'm actually trying to slow it down more. As a plein-air painter, I've gotten into the habit of rushing to beat the changing light, and that is proving to be extremely difficult to overcome. Even as I'm explaining to a visitor that Haseltine painted this in the studio, not on site, and probably over a course of several months, I'm thinking "I gotta hurry up and finish this." Perhaps the most valuable part of the exercise was being forced to slow down, look carefully, and be very patient. It helped that I was forced to take a week between each session; I had very fresh eyes for the next session.</div>
<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.comtag:blogger.com,1999:blog-9901814.post-36490915094650028132017-09-15T10:05:00.001-07:002017-10-09T17:42:47.864-07:00Copyist at the National Gallery of ArtIn the grand tradition of learning by copying master paintings, the National Gallery of Art is one of the few remaining museums in the country which has a Copyist program. I applied for this months ago, knowing that we would be relocating to the DC area, and was accepted. I was able to begin my first master copy at the end of July.<br />
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I chose an East Coast landscape, something not far from my comfort zone but a challenge in that it's a studio work and the opposite coast from what I'm used to. Narragansett Bay in Massachusetts has a very different look and feel to Pacific coastline, so this was a good way to familiarize myself. Here's the <a href="https://www.nga.gov/content/ngaweb/Collection/art-object-page.150384.html">original by William Stanley Haseltine</a>, painted 1864:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8iUpbYc1-bKSoOyB-Irq-gxNlUFIR625d_qweZ4DzMbwCUKHAIHY8nv1u2jilY6jNl2KaZ1PZMMDLRzuXEXoIzNOQ_YV3hZHjX1YnJeVX9SYSCkC_03EjVEzOAdWxGpvvkxJH/s1600/NarragansettLectureImage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="742" data-original-width="1200" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8iUpbYc1-bKSoOyB-Irq-gxNlUFIR625d_qweZ4DzMbwCUKHAIHY8nv1u2jilY6jNl2KaZ1PZMMDLRzuXEXoIzNOQ_YV3hZHjX1YnJeVX9SYSCkC_03EjVEzOAdWxGpvvkxJH/s400/NarragansettLectureImage.jpg" width="400" /></a></div>
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Haseltine achieved fame for his "rock portraits", and the detail on this work is astonishing. I didn't aspire to replicate all the detail, but rather to ponder and learn from his decisions of color and composition. Copyists are not allowed to have the easel any closer than 4 feet from the painting, so our eyes are even further and much of the detail is lost anyway. We can walk up close to examine, but can't stay there to paint.</div>
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Being a Copyist is a lot like being an Artist in Residence, because a big part of what we do is interact with visitors and afford them the opportunity to see how a painting is constructed--something that is an unknown to most. I love talking with people from all over the world about art, art history, underpaintings, color palettes, and so forth. </div>
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I started this just days after our plane landed in Maryland while our household goods were still in transit, so I had a field kit of shortened brushes, a handful of paint tubes, and a wooden palette. The National Gallery supplies the easel. I went to a Michael's craft store and bought a cheap 18 x 24 canvas, good to go. Of course that ended up increasing the challenge, because the proportions of that canvas are different from Haseltine's, and I didn't want to crop the image, so I decided to reformat the composition to fit my canvas. A supreme exercise.</div>
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Here is the first draft of the underpainting, after one 4-hour session.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6c13w89w4xAt4wUTs7NF_NPUjDvCBHxO7U6abMNov2-yuw4SuIlQgKBDY9VEF9GFdfTre8qm9RhFL4C-Eqgf_9JfR5PUMPFdeMp7xBXDUx2ydPuIQKpELhhwU97ZDD3A01N7s/s1600/HaseltineUnderpainting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1208" data-original-width="1600" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6c13w89w4xAt4wUTs7NF_NPUjDvCBHxO7U6abMNov2-yuw4SuIlQgKBDY9VEF9GFdfTre8qm9RhFL4C-Eqgf_9JfR5PUMPFdeMp7xBXDUx2ydPuIQKpELhhwU97ZDD3A01N7s/s400/HaseltineUnderpainting.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4rjoYqXFdd-pcj_6XxnVVm56wsFyN2fLyoLt11oLstUJMY9Xh-FHQLkigjXvFfWRfOdkmxgjXCsiePEWRiaI1b0UA4JB8OBjzXaPos8-lGJHdCuJGZQmxhyKRkKlyk82L38C/s1600/HaseltineSetup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4rjoYqXFdd-pcj_6XxnVVm56wsFyN2fLyoLt11oLstUJMY9Xh-FHQLkigjXvFfWRfOdkmxgjXCsiePEWRiaI1b0UA4JB8OBjzXaPos8-lGJHdCuJGZQmxhyKRkKlyk82L38C/s400/HaseltineSetup.jpg" width="300" /></a></div>
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And my setup in the National Gallery. Lots of visitors asking "why are you only using one color?" --teachable moments about underpaintings and layers. They appreciate the explanations and insights into a process that is mysterious to them. I would love to do this every day...but local resident Copyists are only given one day a week to work, between 10 am and 4 pm. There are about 30 of us, but I have yet to see another working the same day that I'm there.</div>
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The painting cannot leave the premises until the copy is done and documented, so it stays in a locker room set aside just for Copyists. After each session, I photographed the work in progress and used a printout of it to assess what I needed to change for the next session. And with the battle over proportion, there were a lot of changes.</div>
<br />kathrynlawhttp://www.blogger.com/profile/06792831717839627852noreply@blogger.com