This is a portrait of the 18 year old Ernest Hemingway at the start of his voluntary service as an ambulance driver in Italy during WWI. It's based on an old black and white photo and I thought it would be fun to paint Hemingway as though he had posed for a quick portrait study by John Singer Sargent, who went to capture the conflict in Europe as an official war artist. I kept the brushwork loose and I think it has the look of portrait from the early 20th century.
It was fascinating to contemplate the young Hemingway in this period shortly before encountering the horrors of war which would both inspire and mark him. I feel he emerged looking quite boyish yet confident, almost cocky...as though he knew that big things were ahead for him.
One reason I love creating portraits is that I get to study faces as I paint them. I could look at this face all day. I think what I find so compelling is the strength and sculpted beauty of his features in combination with his open, sensitive gaze.
I used a combination of varied edges to convey depth and a pale grayish blue background to complement the warm tones of his skin.
This painting is a study of a handsome man lounging on a sofa, enjoying a nap. I love painting sleeping figures and this one was especially fun and challenging because the hand is central. Hands are actually rather difficult to paint well and they can be quite expressive. Whenever a hand is part of a composition I have to take care that it doesn't become a portrait of the hand because I love painting them. I kept the brushwork vigorous and sketchy to contrast with the languor of the figure.
This is a portrait study of a dark haired man with dramatic features and an intense expression. I focused on loose brushwork and keeping the edges soft. While I often do paintings of my friends, this guy is based on various sources that I mashed up with my imagination. So he's entirely my creation, and just as with the women I paint, I enjoy a vintage look in men. Therefore, I wanted to concoct a man who looked like he could have posed for a painter a hundred years ago. I like inventing people and I think I got him pretty lifelike.
As I have mentioned before a few times, I love painting faces. Actually, I love painting the entire figure but a whole figure can become a big project for me so I often to stick to faces as that seems to be where I focus even when painting a figure. I'm not sure what it is about the face that gets me so involved. I guess because it's amazingly intricate. The eyes alone have such a delicate architecture. While it can be aggravating, I enjoy painting flesh so a shirtless man is a good compromise between painting a face and a whole figure. Getting the skin tones believable is difficult, it's so easy to veer off into a chalky mess if you add white too heavily. Even a very pale person has far less white in their skin tone than you'd think. Women's faces are easier for me to paint than men because the look of makeup can go a long way to highlight features and inject color and visual interest that would look odd on the average man. All this effort is required simply to produce a passable looking human being, to convey something of the human spirit and emotion is an even higher mountain to scale but one I never tire of tackling.
Portrait study of a beautiful young man with dreamy eyes. He has a renaissance look about him which I thoroughly enjoyed painting. I love Caravaggio so I might persuade this model to pose for me as Bacchus one day.
I love painting figures and enjoy taking them out of the traditional context of figure study sessions. In my work I like to paint people enjoying simple pleasures...sunlight, the beach, a soak in a deep tub, and in this painting, a sauna. It's a wonderfully sensual respite from winter. I wanted to convey the relaxing heat and the dark coziness of the cedar wood paneling.
