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Thank you Steven,
yes trompe-l'oeil have always something fun to watch, even if the subject is serious: it's the pleasure of being fooled by a painting.
I love, when I finish a trompe-l'oeil that people don't notice it at the begining ,then come closer and closer and don't dare to ask, and finally finish to put a finger on it to see if it's real or not. If I had been less honest, I think I would have like to be a forger.
Thanks Ilaria!
Hi Thomasin,
it was the first time I painted a figure on wood panel, and I felt more comfortable than on canvas. I felt that the very smooth texture allowed me more subtlety in the tones and values. ( and a baby skin IS very subtle)
When I began to work seriously from life : I did as I had read in books : close one eye and mesure, but the more I worked, the more I realised that my intuition was telling me something different from the mesure I was taking. When I was folowing the mesure, the drawing was bad, and when I was folowing my intuition the drawing was better. These last months, I joined a group of quick drawings from life, and we were making some 15 seconds, 30 seconds portraits( so really no time to mesure!), and when long poses of 3 or 5 minutes arrived, I could catch good proportions and likeness: it was very revealing to me...
Ted Seth Jabobs wrote something about this:
"We will not use any mechanical props, such as sticks and plumb lines.
Their use leads to inaccuracies. To begin, in order to use them, it is
necessary to close one eye. Monocular vision (as in photography)
diminishes the noble amplitude of forms."
The trompe-l'oeil is even something slightly different, you have to change some perpective and some values to make it more real. With objects, you often have to push the contrasts and the edges, and I was very interrested to see how it could work with a figure, because you can not treat it the same way as a book...
I'm glad you saw a movement in it, it means my experimentation works...
Thank you for your kind comment!
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