Anne Griswold Tyng

[Lacey Lewis]

Yay! I have been in anticipation of this unveiling for some time. It looks great, Alex!

Could you please post a close up of a part of the jacket?

[Alexandra Tyng]

Thanks, everyone!

Allan, yes, it is too bad Denmark is so far from Philadelphia USA.! It is so much fun to pop in on people and see what they are working on in their studios. I like it, too, when other artists visit me. Someday I'm going to see your work in person.

Bonfim, thank you! You are always there to be supportive and I really appreciate it.

Wow, Cynthia, I rarely hear from you in this section. I'll take it as a good sign.

Hi, Lacey, thanks so much. Sorry about the delay in posting this. I'll post some closeups tomorrow.

[Mike McCarty]

Alex,

I looked up those big words and I thought my head was going to explodrahedron.

That's one fine painting, I bet you're mum is real proud of you.

[Alexandra Tyng]

Originally Posted by Mike McCarty

I thought my head was going to explodrahedron.

I can just picture all those tetrahedrons and octohedrons erupting from your skull! It's exactly how I feel when my mother starts talking about her theories. At least she knows what she is talking about!

[Ilaria Rosselli Del Turco]

Alex, she looks like a little woman who could be holding the whole globe rather then a balsa shape, so positive and assertive.
My feeling is also that you had to hold back your mother/daughter relationship in order to paint her in this more official and formal situation.
In a sense I see more ease in the couple of architects you painted lately. I tried to paint my mother last year, but I found it difficult even to look her straight in the eyes.
Anyway this is a very complex and elaborated work which shows off all your skill.
Beautiful
Ilaria

[Alexandra Tyng]

Thank you, Ilaria!

Originally Posted by Ilaria Rosselli Del Turco

Alex, she looks like a little woman who could be holding the whole globe rather then a balsa shape, so positive and assertive.

Definitely true. I am glad this came across.

Originally Posted by Ilaria Rosselli Del Turco

My feeling is also that you had to hold back your mother/daughter relationship in order to paint her in this more official and formal situation.
In a sense I see more ease in the couple of architects you painted lately. I tried to paint my mother last year, but I found it difficult even to look her straight in the eyes.

That is so true, also! I think you are right, that I made her more formal than the other architects, and it could be also that I have already painted her in a more "motherly" pose, so I was deliberately contrasting this with the other portrait. There is that dignified persona she presents professionally that is so "her." I did see the Venturis as more relaxed and informal, in a way. Maybe I did have to separate myself from her (as mother/daughter) in order to paint her this way. The expression in the other portrait tugs at me every time I look at it, and I always lean it against the wall in my studio and cover it with another painting. What does that say? Too much emotion? So I empathize with your not being able to look your mother in the eye.

[Alexandra Tyng]

Here are a couple of close-ups of the jacket.

[Mari DeRuntz]

Beautiful! I'm hoping you'll say something about your compositional decisions - those "pointing" contrasts of geometrical design on the subtle background chalkboard and the 3-d model must have been great fun to design.

[Sarah Griffin Thibodeaux]

Such an intelligent portrait. Thank you.

sarah