Pink Shoes

[Amy Otteson]

Hi Holly - I do like the idea of a fresh background, but I do think that there are a few things that distract with what you have done. I like the abstractness, but I agree that the use of almost primary colors take away from your beautiful work on the figure. The tones and values seem to fight. I agree fully with the white - light value on the bottom being too much. I still think the background can work as abstract shapes etc, but not how you are showing it now. I love the figure and the pose.

[Holly Snyder]

Marvin,

I appreciate your frank critique, and for taking the time to explain what doesn't work. Backgrounds, although a necessary evil, can be awfully frustrating for me. Keep sayin', I may actually listen to you one of these days .

You read that Sargent took up to 80 sittings to complete portraits, and that he would frequently throw a work away and begin with a new approach. However considering the enormous volume of work he left behind, he must have been an absolute painting machine.

Amy,

Thanks for the comments. I'm going to take what you and Marvin wrote and fix the background a little and try and salvage the painting.

Cheers,

Holly

[Mike McCarty]

Holy,

I have a lot of trouble with backgrounds myself and can offer no advice of my own. I too appreciate and learned from Marvin's' assessment and would offer this link to the comments of John de la Vega regarding backgrounds.

[Marvin Mattelson]

Backgrounds, although a necessary evil, can be awfully frustrating for me.

A necessary evil? OUCH! Methinks I've found your problem! You need to reorient your thinking. Think of the background as that which supports your main focus. You need air around you to breath, don't you? So do the heads you paint. Every yin needs its yang. Think in complementary terms. What colors, shapes and values will make the key foreground elements come to the fore while harmonizing with it.

In the most simple terms, the background is a part of the shadow realm; it balances the light. This is regardless of whether the background is in shadow or in light. The reasoning behind this is that the atmosphere inhabits both the background space as well as the shadow realm.

If all else fails you could just do vignetted paintings on tonal backgrounds. This is a technique that some of todays most renowned and successful Alla Prima portraitists regularly employ.

[Heidi Maiers]

Holly,
I agree with the others here in that the girl's face here is really lovely. You know, if you really get frustrated with backgrounds, you could always try sculpting - no backgrounds at all to deal with in my world! Unless, of course, you take up relief sculpture.

[Holly Snyder]

Mike,

I do remember enjoying John de la Vega's paintings a couple years ago when I first found Cynthia's site, and this forum and the Stroke of Genius websites were my first amazing introduction to the world of portraiture. Thanks for the link and reminder.

Marvin,

Once again, thank you. And yes, several painters I particularly like are Richard Schmid, Harley Brown, Scott Burdick, and Ramon Kelley, all of whom regularly paint in the technique you describe.

Heidi,

One thing at a time! But seriously, I enjoy seeing your work and appreciate your different perspective on this mostly 2D forum. I've seen a couple artists who are successful in 2D and 3D, which to me is amazing.

Regards,

Holly