After twenty five years of copying old masters and pets I am moving on to other, less demanding pursuits and hoping my eyes appreciate the change. Still copying, at least for a while. This painting, inspired by cave art, it on primed unstretched canvas with pastel and charcoal and acrylic medium. No eyestrain at all! BLISS
Little Rumi was born February first this year. He is everything I want in a goat, and friendly as can be from the moment his mom had him dried off. I got this pic of Bob holding him in the morning and just had to paint it. This is the technique that gradually came about after all the old master copies - it is all underpainting and glazes with multiple layers of acrylic and highlighting in between, but a whole lot looser than the artists I copy, even though it doesn't look all that loose in the end, just kind of soft. It certainly is a fun and stress free way to paint.
sketchcrawl event at the Florida Museum of Natural History. I think that's what it is anyway... The giant armadillo is animatronic and I nearly jumped out of my skin when it raised its head to look at me. The space the mammoth is in is very small, I could only get a few feet away, thus the perspective. Still a lot of fun.
Sundae acrylic on canvas 16x20
Sundae is in a smashing outfit originally by Vigee-Lebrun, a woman artist I enjoy workuing from. The candy stripes were challenging, but worth it.
Maru 16x20 acrylic
After the last concept sketch of Maru I decided to look for a Holbein without the fancy embroidery. I love this picture of Sir Thomas More, the luscious velvet sleeves and the green drapery, and I just love the little Tudor hats on bunnies.
Maru VIII 9x12 charcoal and chalk on paper after Holbein
This is a concept sketch for Maru, an English lop rabbit that lived with me many years ago, and posed for the father of Snow White in a children's book I illustrated for Dutton Children's Books in 2005. Maru never got an old master of his own and I probably won't paint this one, since one of my cats is already in this particular painting and how many do you really need? Still, I wanted to see how he would look as a chunky royal bunny. I often do concept sketches to see if I'll like the final project.
Miss Sydney acrylic 16x20
Madame Duvaucey by Ingres
The portrait of Miss Sydney was commissioned after she had passed, so the pose selection was limited to the existing photo. I chose this painting by Ingres that I have used before for a sheep, Cathy Lamb. I love the painting - I am very fond of Ingres, love the compositions, love the detail, love the gorgeous fabrics.
Winston acrylic 16x20
Napoleon in his study oil Jaques Louis David
Winston's owner specifically wanted him in a Napoleon pose, so I selected this well known portrait by David. I cropped it to avoid putting human legs on a dog, which I don't care for as I think it destroys the illusion. The part that I used includes the all important hand-in-vest, of course.
Mari 16"x20" acrylic
Just like the last post, this is a colored print that I wanted because I sold the originals. Glad to have my cats back.
Jazz 16"20" acrylic
This painting is actually a colored print. I did something I almost never do, sold two paintings of my own cats, and then immediately regretted it. I love the Holbein references and I want my cats in my collection, but I didn't feel like going back to the beginning, so I sent off a digital file and got a canvas print in black and white, and then colored it with my acrylic glazes. It was tough overcoming the digital canvas texture on the print! Probably would have been easier to just do it over entirely. Live and learn.