Wednesday, January 30, 2013

Miscellany 2

Another Day in the Field

First, thanks to everyone who commented: to Matt Larson in the comments section, and to all those who sent an email. I appreciate your input---especially because, couched within your kind remarks, were all those nuanced suggestions that I shouldn't give up my day job.

Below is the current state. This photo is too yellow, and a bit blurry. But it's a slice of the the situation as of studio-leaving today.

As you can see, I followed some of the suggestions. There were others I might have followed had I the skill to do what you said. 
One of the basic things that raised its head was the quality of the flat, even light that I wanted for the painting. Here I am with Clausen again, and many of the British naturalists of the end of the 19th century.

What I sought was a dry, almost granular surface. This is very much at odds with the creamy, luscious surface of a lot of portrait painting.
Because it is out of doors, under even light, without sun, there are not strong shadows, and hence less modeling.

Here's a Clausen en plein air:


Sargent painted few plein air paintings that one would call portraits, but here's one. Notice how even, and unshadowed, is the light. Jacques-Emile Blanche, the sitter, was a successful portrait painter himself.


Here's an Emile Friant (French, 1863-1932) self-portrait, under flat gray light from a skylight. A favorite of mine.

I like the fellow outside on the street, craning his neck for a peek.

Below is a tree drawing by Thomas Ehretsmann. Thomas is an illustrator, and follows the blog from his home in northeastern France.

Thomas won the Society of Illustrators (Los Angeles) Silver Award for 2013. In 2012, Thomas won the Gold Medal of The Society of

Illustrators. You can see more work by Thomas here.

Thomas has small children, and many deadlines, but we still hope he can find a way to join the French Workshop, in the Berry, next June.


A first heads-up: I will be doing a long demo at the Newburyport Art Association's Sargent Gallery on Sunday, March 17th, from 6:30-9:30 p.m. The demonstration will be followed by brief crits of work that members of the audience have brought in (one painting per artist, please!)  An autographed copy of my new book, Donald Jurney: Selections from the French Sketchbook, will be given as a door prize.

For more information please visit the Art Association's workshop page.

For further information about the book, please click here.

You can now preview the entire book on the blurb site.

For those for whom English is not a first language, please notice that there is now a Google Translate widget at the top of the blog, on the right. It might be helpful in sorting out some of what I've written.

And last but not least, we've had another sign-up for the Savannah workshop, beginning in about 10 days. You may still come along if you're quick about it.


1 comment:

  1. Looks like the start to a great painting. It is nice to jump into another aspect of painting from time to time. In terms of comments, inspite of the flat light I would darken the eye socket areas a lot more. Just look at the Clausen and the Friant again. But who am I to comment?