Quote:
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Originally Posted by John Reidy
HURRAH FOR HENSCHE!
The quote quite literally sums up my perspective of the challenge of painting and more clearly expresses what I was trying to say regarding all of us being colorists (to one degree or another).
The way I try to use color is to suggest what the subject is doing. In other words, on a face, is the plane I am focusing on turned toward the light or away from it. Observing the surrounding colors, do any of them influence the color of the flesh of this plane in relationship to the light? How bright or dull is the color compared to its neighboring planes. Is it closer to my eye or further away?
All of these questions and more go through my mind when I am trying to determine what color to use. This is why I think of us all (portrait painters) as colorists.
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All portrait painter are not colorists, even good ones.
Some are excellent at making form and subtle skin variations, but are not particularly good colorists. As I have said before
color and color compositions can be independent of form, even in portraiture.
I am posting an early one of mine as an example, it has form but is really a black and white painting. It goes from light skin-tones to dark skin-tones. There really is no color. Tints maybe, but you could get the same effect coloring in a photo.
The next is a Bronzino. The form and design are beautiful, but the face goes from light skin-tone to dark skin-tone. The dress goes from medium to dark red. The is really no color composition. The color areas are
FILLED IN with tints of color.
The third is an Ernest Major, who is a fine colorist. The skin reflects different colors AND temperatures of light. The white dress is not simply white but is alive with many variations in color, especially the orange reflection of the fan. The dress does NOT simply go from light to dark as does mine. Notice the cool blue tints in the skin, especially in the arm. This is missing in the Bronzino.