Yet another piece that, under the duress of a deadline, I finally got around the finishing the background of... it's a real monster, oil on canvas, 72"x36".
Beautiful work again, Daniel! I really like the treatment of her hands. IMO If hands and feet were easy to paint, everybody would be a figurative painter! But the reality is, only a gifted few (like yourself) can do them. Well done.
Totally Classic ReBorn.
Beautiful work. I would like to know more about the imaginative title. Sounds very esoteric.
Wondeful work!....from the knees on down alone impresses the heck out of me. But the whole work is super!
Great work Dany! Congarts! Love all of your work but this one stand out the most.
Wow, folks! Thanks!
Kevin - I have my more favorite hands and feet in my paintings and my less favorite ones. I'm *always* worrying about the hands and feet. I liked these ones. :)
Edna, I'm afraid I don't have much to add about the title! I'll totally cop to being lousy at titling paintings. With this one, I started it right after a trip to Italy, and I used the red and blue swirling cloth I saw in so many Madonna paintings. So "our lady" was on my mind, and then I got done and looked at it and thought, "Huh, I put five stars on that." So that's what I called it... pretty stupid, huh? Anyhow, thanks for the kind words.
MPO, thank you! Those lower legs are surprisingly complicated, as I'm sure you've figured out as well.
Kostadin, thank you so much! I'm glad this one seems to have worked out. It was a lot of work, and I really liked it as I was working on it. Sometimes they flame out right when they're about done, so it was a huge relief when this one didn't.
Wow! You've done well here Mister M - the flesh tones are amazing and the red and blue are clear KOs. Congrats!
Your drawing skills of the female figure render fruitfully on this piece. The selection of colors again are very good!. The grey background, makes everything else to stand out. You have a Maddona naked in her niche! Excellent work Daniel, I love it.
WOW, incredible painting, the size would overwhelm me, you are an incredible painter and your years of devotion to working on the human figure show!
I like the classical style of this. The blue/grey backround is perfect.
Dmac - thanks! I didn't really know until it was almost done whether those reds and blues were going to work - glad you think they do.
Raul - thank you! ! I'm hoping to finish a piece in a few days that will demonstrate that I can do men too! I suppose she is a Madonna naked in her niche, I hadn't really thought of that... Anyhow, I'm so glad you like it!
Sharon - thank you so much! If it's any encouragement, it took me a lot of tries to build up to that size. I completely messed up a few 6"x4" canvases a few years ago, and scaled back while I figured out how to get a composition to work at a larger scale. This is actually the first six-footer I've tried since then, but I'm working on a second one right now. The good news is it's just a matter of practice. Agonizing, slow practice. :)
Gene - thanks! That particular blue/grey, in case you were wondering, is easy to do: it's the wonderful Sennelier Cool Grey 707. I'm actually a little worried I'm getting addicted to solving my problems with more 707. I think I need to find other solutions for a while...
Daniel - this is yet another of your beautiful women. I think you need a case-load of the 707, because it works! I am addicted to the Schmincke Mussini equivalent. The red and blue are very clear and clean, and I think they work very well against the fragility of her skin. Well done! I am in awe of your ability to work like this to a deadline!!!! Super painting, Daniel.
Sarah - you know how much your opinion means to me. I'm really glad you like this one. What's the Mussini version of the 707? Maybe I'll try it out. I've been using Mussini's cool light grey and warm light grey quite a bit as well, and I have a good time with their paints! I just remembered something about that red and blue that might be interesting - I remembered reading somewhere that using a transparent red overpainting on grisaille produces really rich color effects, which stands to reason; so I did that here with the red and the blue, just to see how it would work. But the underpainting wasn't really grisaille - it was black, and lighter areas were just less black. Anyhow, thank you so much for your comments.
Actually, I think that is very interesting. Thanks for sharing.
Thanks for the compliments, Daniel. My day is looking better already :)
It is hard to tell from a small photo, but the Mussini greys are: Neutral-ish - Sfumato/Shade Grey, which is very transparent, brownish tint and dark (Schmincke Mussini 790). Brownish Grey 2 which is medium (788) which is my very favorite - a warmish grey that lends itself to so many applications. Brownish Grey 1 which is light (787) which is just a lighter version of the medium. I often do a grisaille in those three only.
The cools are Bluish Grey 2 which is dark (785) which is a bit too blue for my liking, and Bluish Grey 1 which is light and is a great cool to add to areas of flesh which get too "hot" while being overworked!!!!
I have to say that this series gets a great deal of use. The Grey Day Into Light was done in the cools with Ivory Black.
Actually I use only Schimincke Mussini paints since they were what I trained with, and I have never found better.
Edna - no problem! I hope the information proves handy.
Daniel - thank you!
Sarah - wow, thank you for this level of detail. Great to know. And I bet my Mussini light greys are in your list there. I'll check when I go by the studio. Although I might have to just run out and get a tube of 788, it sounds very appealing...
Wow!!! It's a classic piece of art, Daniel!
Thank you Abraham! I appreciate it.
Very good figure work indeed!