London School Girl

[Patricia Joyce]

Scott,

What a breathtaking delight to open up to!! I don't know what I can add except that it is also my favorite painting of yours. I love seeing all your work, but this far surpassing every previous painting, the subject, the colors, the emotion, composition, is all tender, in a very understated way, which is what I love about it. Her expression and her pose is so subtle and the way you handled her sweetness was with great care.

Bravo!!!

[Chris Saper]

Dear Scott,

It is such a privilege to see your work. This painting (as are all your paintings) is a semester's work in studying edges. I doubt I could be more eloquent than the preceding posts, I just know what this little child's skin would feel like if I touched it. I so wish I could have met you as well.

As you might guess, this is my SECOND favorite painting of yours.

[Sharon Knettell]

Scott,

Such delicacy, as fresh picked as the flower in her hand.

[Scott Bartner]

Wow! Thank you all. I am deeply moved by your reactions.

Bart used the phrase

[Alexandra Tyng]

Scott,

You could have so easily painted this girl in a navy blue dress, but you didn't! I love the way you have taken a classic theme and injected a totally original viewpoint. Her red dress is so personal, and so is her expression. And it's beautifully painted with lovely edges and subtleties of light and color. I can see why everyone is raving about it. I'm sure it is even better in person.

Alex

[Scott Bartner]

Thank you Alexandra. I had in fact considered painting her dress blue making life easier. Deciding to use the Golden Barok red set up a challenging problem establishing a harmonious background.

I like backgrounds which change gradually in value and color. I decided on a greenish gray, green being the compliment of red. On the viewer's left I exposed the reddish orange ground the panel was prepared with lowering its value allowing me to go from dark to light. Then moving behind the figure with the negative triangular spaces produced by her hat ribbon and dress, the gray becomes more bluish. The idea was that the red, green and blue of the background would harmonize with the colors of the figure. What (I think) produced the "stillness" of the portrait was the greenish gray background and perhaps her expression.

[Michele Rushworth]

So very British, so very Bartner -- and so very perfect!

[Richard Huante]

Scott,

What a wonderful, timeless portrait. The sparkle in her eyes, softness of the face, and gentle cool lights are reminiscent of works by the Dutch Old Masters. Truly an inspiring piece!

Sincerely,

[Ilaria Rosselli Del Turco]

Scott.,

if it's the veggie burgers that make you a painter from another planet I would definetely quit the Italian food!

Can't wait to see your works on display in London.

Am now with dial up connection in the Tuscan countryside, but it was worth waiting ages to have another look to this masterpiece.

Ilaria

[Scott Bartner]

Thank you Michele and Richard.

Ilaria, thanks for your Tuscan post. As you know, many issues have arisen on this forum. The more volitile ones often involved giving up something. I can paint without Liquin, forego the retouch varnish, even cut back on the cadmium paint--but giving up Italian food is not an option.

Al Dente-ly yours,

Scott