'FIGURE STUDY 7'

Oil on masonite
9" X 14"



A one session model study

'GLASS JEWELS, 11'

Oil on maple hardboard

6"X 6"

'GLASS JEWEL 10'

5" X 7"

Oil on maple hardboard

'GLASS JEWEL 9'

5"X7"
Oil on maple hardboard

"The problem of the painter is to have the painting create its own light- that's the theory of painting." Wayne Thiebaud

'VAN GOGH'S PICKLES'

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5"X7"

Oil on maple hardboard

'MERAV AND THE TURQUOISE CHAIR'
Oil on masonite
11" X 11"

The first image is the underpainting done during first week with model, Merav.
I used a burnt sienna layer over a gray underpainting and used a wipe out technique, with Q-tips,rags and make-up sponges! I added in darks and lights with more sienna and cremnitz white.

The second image is from the final sitting at the McGee St studio. I added in local color and skin tones in the lights and improvised brush-work in the patterned fabrics in the background. When I was nearly finished, a fellow painter turned it upside down, which helped me to resolve some composition and color issues. When you don't know how to finish a painting, turning it upside down is a great way to see it in a fresh, abstract way.

'GLASS JEWEL 8'

6"X6"
Oil on maple hardboard

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http://daily-painting-practice.blogspot.com

'GLASS JEWEL 7'
Oil on maple hardboard
5"X7"

"Small work fits in with the pace of modern life. In the time where the one liner, the quick fix, instant gratification and short concentration-spans rule, small stuff
works. Life burgeons--family, friendship, fellowship, dining and watching long-neglected DVD's like Al Gore's witness to global warming, "An Inconvenient Truth." All becomes part of the matrix. Like an impossible jigsaw on the coffee table, the paintbox is always there with its permanent invitation to frustration, understanding and joy." Robert Genn, author of 'The Painter's Keys'




http://daily-painting-practice.blogspot.com