absolutely stunning!

The pose has a fantastic flow and dynamic to it and your flesh tones are superb!

Kostadin - thank you! I'm glad you think so. Paul - thank you! My original idea for the pose had the same feeling, but it was just symmetrical and static. That's what working with a good model does for you: she added the torsion on her own once she figured out what I was going for, and it made all the difference. Glad you like the flesh tones too...

This is STUNNING Daniel!  You never cease to amaze me. The skintones are just fantastic. I agree with the discussion on the pose - it does look as though she really means it, and it is not contrived!  In addition to her movement and "owning" the pose, she still has a look of an ancient Greek statue - so timeless.  I asked the model in my latest to add her own emotions, and it mad all the differece.   Wow!

Thank you Sarah! I really appreciate it. I'm glad the pose reads naturally to you. And the Greek statue thing - excellent! I have to confess, some of my favorite torsion in art is in Michelangelo's "slave" sculptures, and I seem to circle them and come back to them - I think this painting might be another instance of that phenomenon. I'm glad you're having good experiences asking your model to make herself a part of the genesis of the emotions of the painting. I think models provide many resources in this realm that we are not taking enough advantage of as artists...

another masterpiece dude. i love them redheads.

Daniel, this is fantastic! I like the movement, the energy , the colors... in fact everything.

Another great piece and again tryly unique.  I love the way you handle you fleshtones and the expression of the model's face.  Superb!  Everything about this one is great.  You continue to amaze me with your skill and talent.  Keep up the great work.  I have not had the chance to work with a model for a very long time and it is completely frustrating to me.  I envy you.

What else can be said  ..  perfect ! !

A very unique figure painting!  The peachy pinks on select areas of the skin are really effective, I love it.  And the sky blue peeking out here and there in the background is marvelous.  And that Pre-Raphaelite hair--what a composition!

I see strong painting.Interstion theme.Lightly,feel watercolor in your drawing... 

Wow - thank you all so much! Patrick, I'm glad you like it, and yeah, another redhead! There seems to be a high proportion of them among the models here in NYC. Abraham, I know that movement and energy and color are high priorities for you, and it makes me very happy that the work measures up to your search for these qualities. KBurch, that expression was really important to me! The whole thing wouldn't work if I couldn't get her expression to motivate her pose - so thank you. And I hope you get a chance to work with some models soon... Gene: thank you! Kisu, it's only in the past six or seven months that I started to be able to differentiate local color variation in the skin - my color theory and technique weren't strong enough before to do that. So I'm glad my deployment of my recent learning works for you. The sky was very exciting to paint - I underpainted it in burnt sienna so that I would have to fight against warmth in the overpainting and hopefully produce a slightly opalescent shimmer. And I'm glad my choices about the hair work for you! Thank you! MakVady, thank you as well - and if you see watercolor feeling there, that's great: this is oil, but to be able to convey some of the lightness of watercolor - well, that's good to hear.

For me this painting is all about the juxtaposition of the contemporaneous with the traditional. Great work.

Your work is very lovely, skintones luminous.

Yes, you are bloody darn right !, it´s such a Great work !. Congrats !. Carlos. It looks very "waxy" thou, Great !.

I like your classical approach to painting, you have great talent my friend!

Wow! 

I really like this, 

your work is great, I'm happy to found you :)