Lucky shot
 

The other day it was very hot here in London and I did not feel like painting, but in the afternoon I felt a pang of guilt and started this commission long overdue.

This is the third of three brothers, the other two I painted about ten years ago (can't look at those paintings now without blushing for shame), and I kept putting off this third one as I thought somehow I had to match it with those two misfits.


I had a B&W reference photo taken this Christmas, and decided I wanted to try a monochrome block-in, so I painted it first with terra rosa, then just intuitively went on and added the flesh tones. Here is where I got in about two hours work.

Linen, 30x20 cm, the only regret is that, as I did not trace, I ended up with the head slightly bigger, it would have fit the canvas better if it was one cm smaller, but I am quite happy with it anyway.

Now I only have to face the parents and tell them they won't be able to hang it close to the other ones, but I will hope they will agree this one is much better anyway.

One weight off my shoulders in a lazy hot afternoon, with Wimbledon tennis as a musical score!
Ilaria

Beautiful!!!

Fabulous Ilaria! This one just pops. What a wonderful color harmony, and perfect brushwork! How big is this?

Bravo!

Garth

Tiny tiny Garth, just 30x20 cm, that's why it was so quick maybe!
Can't wait to try this monochrome block- in thing in life painting!
The red looks very strong and bright, but it is a mute vermillion.

Thanks to you and Hanna
Ilaria

That would make the head about life-sized, would it not? (About 12" x 8" in inches)

Garth

llaria,

Lovely and painterly. We always grow with each painting. Maybe you will be recommissioned to paint the boys as young men.

By the way we have been above 100F (38C) for the last week. Hit a high of 114F (45.6C) just the other day. Do we win the hot weather prize?

Regards,
Richard

I think you do, Richard. I was just in Scottsdale last week. What a furnace! Sorry I missed meeting you.

Ilaria, I want to know more about the soft London afternoon light that must have such an influence on your eight color palette, I am fascinated how the local atmosphere and environment affects color choices and decisions.

Garth

Richard, you do win the weather price!
But consider this: we have had no more than 20 degrees up to last week, everything is relative ! This town becomes euphoric when this "summer" peeps in for a few days.
You can't imagine how I miss my Italian sweet summer nights, I have three more weeks to go and I'm home!
Ilaria

Garth, I'm too lazy to go upstairs and measure, I reckon it is a bit smaller than life size. My sensation is that the head fits rather tight in the oval and the boy feels boxed in, or as if he is peering out from a hole. Anyway sometimes I think one must forgive herself a few sins...
Ilaria

Garth, that's a difficult question!
During the last week we had sunny spells after dull day, and the sun, around six o'clock was coming in and bouncing under the clouds. Warm golden light, very diffused, cool halftones. The trouble is that it lasts fifteen minutes in between the Simpsons and bath time, so trapping my son in the studio to sit is almost impossible, but magical when it happens.
Anyway the main thing it affects is the mood rather than the painting! In the winter we have days and days of overcast weather that would suit Cezanne (he used to paint dr Gasquet only in white sky days), and it is a constant cool light to work in, but I am desperate for sunshine, once a week!
I.

llaria, I love this strongly painted head and I'm a big fan of your fresh, painterly style. I'm very impressed that you painted it so quickly.

What a wonderful face and how lucky this child is to have this painting by you! Congratulations!

Linda, thanks, I'm impressed too, it sort of painted itself. Wish I could have more such days!
Ilaria

Ilaria,

Beautiful brushstrokes, design and color. A lovely fresh little gem!

Sharon, thank you very much for taking the time to comment and for your compliment, I appreciate it a lot.
Ilaria

Ilaria - beautiful work. Love that red touch!

Thanks Julie,

Though it looks cadmium in the photo, that red is superexpensive Michael Harding Vermillion, that I bought once in the hope it will make me become like Euan Uglow ( a painter I worship who was using it).

I didn't start painting like him unfortunately, but I am very glad that that single brushstroke has done something for this painting!

Thank you for commenting
Ilaria

Ilaria, I don't believe I have ever had the good fortune of being able to say that. How wonderful. I love the expression on his face and I agree with all the other compliments as well.

I need to add my "beautiful work" comments. It's contemporary and classic, also in love with that splash of color.

Ilaria, ditto Jimmie and all above... it is so refreshing!

Do you find yourself ever going over and reworking areas or do you seem to keep your strokes free and right the first time?
:thumbsup:

Jimmie, Elizabeth, thanks a lot for your comments.

As I said this was a bit of a fortunate accident: I normally work and rework my faces many times, even more if I am painting from a photo.

But the more I paint the more I realize how actual ability at the easel is influenced by many conditions: in this little work I had nothing to lose, I was not under pressure to finish this, as these people are in Italy and I'll see them again in a month time, I had plenty of time to do another one if this didn't work out.

I was trying out blocking in with a monochrome underpainting as per Richard Schmidt's book that I just got.

Well, it's a bit like Freud said, how many people are in a bed? So, how many people are behind the easel? The artist, the client, the mother in law, the grand mother who finds the girl sad.... so many people bothering with the most irrelevant comments...

Here it was as if I was painting for myself, that works for me.

Lisa, come on, we all saw your sari painting, you pretty much showed you can do anything you like
Ilaria